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ESSENTIALS  OF 
PUBLIC    SPEAKING 

FOR 
SECONDARY  SCHOOLS 

SECOXD  EDITIOX 

BY 

ROBERT  I.  FULTON 

DEAN    OF    THE    SCHOOL   OF    ORATORY   AND    PROFESSOR    OF   ORATOR\ 
IN    THE    OHIO    WESLEYAN    UNIVERSITY 


THOMAS  C.  TRUEBLOOD 

PROFESSOR   OF    ORATORY    IN    THE    UNIVERSITY    OF    MICHIGAN 


S  6  A 


GINN  AND  COMPANY 

BOSTON  ■  NEW  YORK  •  CHICAGO  ■  LONDON 


51176 


Copyright,  1909,  1910,  by 
Robert  I.  Fulton  and  Thomas  C.  Trueblood 


ALL   RIGHTS    RESERVED 
810.8 


grtie    !at»)cnieum    jpregX 

GINN  AND  COMPANY  •  PRO- 
PRIETORS •  BOSTON  ■  U.S.A. 


PREFACE 

The  growth  of  interest  in  public  speaking  in  the  secondary 
schools  throughout  the  United  States  during  the  past  decade 
has  been  phenomenal.  The  principal  high  schools  and  acade- 
mies are  not  only  supporting  vigorous  debating  societies  and 
oratorical  associations,  but  are  engaging  in  friendly  contests  in 
debate  and  oratory  with  their  rivals.  This  has  led  to  a  demand 
for  systematic  instruction  in  the  fundamentals  of  good  reading 
and  good  speaking,  and  leading  secondary  schools,  recognizing 
this  demand,  are  establishing  courses  to  that  end. 

The  aim  of  the  authors  of  this  volume  is  to  meet  this  need, 
to  present  sufficient  instruction  for  practical  purposes,  and  not 
to  overburden  the  student  with  too  extended  discussions  of  the 
philosophy  of  expression.  It  has  been  the  endeavor  to  discuss 
"simply  and  to  the  point  the  essential  elements  of  good  delivery, 
to  give  short  illustrations  for  applying  the  principles,  and  then 
to  provide  whole  selections  for  practice.  We  have  tried  so  to 
simplify  instruction  that  the  average  teacher  who  has  been 
chosen  to  do  this  work,  whether  he  has  had  extended  technical 
instruction  or  not,  shall  be  able  to  acquire  sufficient  skill  from 
the  discussions  contained  in  these  pages  to  become  of  material 
service  to  young  students  of  public  speaking. 

We  have  followed  mainly  our  plan  published  in  1893  in  the 
Practical  Elocution,  and  we  trust  that  this  newer  and  simpler 
treatment,  designed  for  younger  students,  will  add  interest  to 
the  study  of  the  elements  of  effective  delivery,  and  inspire  con- 
fidence in  those  who  would  acquire  proficiency  in  the  art  of 
persuasive  speaking. 


•-'H 


CONTENTS 

Page 

Preface *  iii 

Index  to  Illustrative  Selections xi 

Introduction i 

PART  I.    THE  SPEAKER 

CHAPTER  I.    MAN'S  TRIUNE  NATURE 4 

1.  Vital  Nature Zfi    .  4 

2.  Mental  Nature 5 

3.  Emotive  Nature 5 

CHAPTER  II.    THE  VOCAL  ORGANISM 6 

Section  I.   Organs 6 

1.  The  Lungs 6 

2.  The  Trachea  and  Bronchi 6 

3.  The  Larynx 6 

4.  The  Pharynx      ...         7 

5.  The  Nasal  Cavities 7 

6.  The  Mouth 7 

Section  II.    AIuscles 7 

1.  The  Diaphragm 7 

2.  The  Abdominal  Muscles S 

3.  The  Rib  Muscles S 

"^Section  III.    Respiration 8 

1.  Inspiration S 

2.  Expiration 9 

3.  Method  of  Breathing 9 

4.  Breathing  Exercises    .    , 10 

Section  IV.   Vocal  Culture 12 

1.  Care  of  the  Voice 13 

2.  Vocal  Exercises 14 


vi  ESSENTIALS    OF   PUBLIC   SPEAKING 

Page 

CHAPTER  III.    PRONUNCIATION      i6 

I.  Phonetic  Sounds i6 

1.  Tonics lo 

2.  Subtonics i6 

3.  Atonies 16 

II.  Time  Value  of  Sounds 17 

1.  Stopt  Sounds 17 

2.  Continuant  Sounds 18 

•^'  III.  Requisites  of  Pronunciation 19 

Section  I.    Quality  of  Vowel  Sound 19 

Defects  in  Vowel  Quality •  ^9 

Section  II.    Articulation 22 

1.  Oral  Position  of  Consonants 23 

(i)   Labials 23 

(2)  Linguals 23 

(3)  Palatals 23 

2.  Cognates 24 

3.  Exercises  in  Articulation 25 

Section  III.    Syllabication 27 

1.  Syllables  as  to  Etymology  and  Euphony 27 

2.  Syllables  as  to  Number 27 

3.  Syllables  as  to  Position 28 

4.  Time  Value  of  Syllables 28 

(i)  Immutable  Syllables 28 

(2)  Mutable  Syllables 28 

(3)  Indefinite  Syllables 28 

Section  IV.   Accentu.\tion      28 

1.  Kinds  of  Accent 29 

(i)  Primary  Accent 29 

(2)  Secondary  Accent 29 

(3)  Tertiary  Accent 29 

2.  Variation  of  Accent 29 

Section  V.   Exercises  in  Pronunciation 30 

CHAPTER  IV.    EMPHASIS 31 

Section  I.   Emphasis  of  Sense 32 

I.  Absolute  Emphasis 33 


CONTENTS  vii 

Pagb 

2.  Antithetic  Emphasis 33 

3.  Cumulative  Emphasis 34 

4.  Distributive  Emphasis 34 

Section  II.   Emphasis  of  Emotion 35 

Section  III.    Emphasis  of  Pulsation 36 

PART  II.    ELEMENTS  OF  VOCAL  EXPRESSION 

Table  of  Vocal  Elements 41 

CHAPTER  V.    TIME 42 

Section  I.    Pause 42 

1.  Physical  Necessity 42 

2.  jSIental  Necessity 42 

3.  Law  of  Use 44 

4.  Explanation  and  Illustrations 44 

Section  II.    Quantity 53 

1.  Long  Quantity    . 54 

2.  jNIedium  Quantity       56 

3.  Short  Quantity 58 

4.  Vocal  Culture  of  Quantity 61 

Section  III.    Movement 64 

1.  Slow  Movement 65 

2.  Moderate  Movement 65 

3.  Rapid  Movement 65 

CHAPTER  VI.    QUALITY 75 

^      Section  I.    Normal  Quality 76 

Section  II.   Orotund  Qualit\' Si 

Section  III.   Oral  Quality S3 

Section  IV.    Nasal  Quality S5 

Section  V.    Falsetto  Quality 93 

Section  VI.   Guttural  Quality  . 96 

Section  VII.    Pectoral  Quality 98 

Section  VIII.   Aspirate  Quality 100 

Section  IX.   Summary  and  Vocal  Culture 103 


viii  ESSENTIALS   OF   PUBLIC   SPEAKING 

Page 

CHAPTER  VII.    FORCE 107 

Section  I.    Form 108 

1.  Effusive  Form 108 

2.  Expulsive  Form no 

3.  Explosive  Form 112 

4.  Combinations  of  Form  and  Quality  (with  Table)     ...  114 

5.  Vocal  Exercises 115 

Section  II.    Degree nS 

1.  Subdued  Degree nS 

2.  Moderate  Degree 118 

3.  Energetic  Degree 118 

4.  Vocal  Culture  in  Degrees  of  Force 127 

Section  III.    Stress 131 

1.  Radical  Stress 13- 

2.  Final  Stress I34 

3.  Compound  Stress I35 

4.  Median  Stress I37 

5.  Thorough  Stress I39 

6.  Intermittent  Stress MS 

7.  Vocal  Exercises  in  Stress I49 

CHAPTER  VIII.    PITCH I54 

Section  I.   Degree  of  Pitch 154 

1.  Low  Degree I55 

2.  Middle  Degree i55 

3.  High  Degree I55 

4.  Vocal  Culture  of  Degrees  of  Pitch       161 

Section  II.   Change  of  Pitch 163 

1.  Inflection      . '^^4 

(i)    Rising  Inflection i<J4 

(2)   Falling  Inflection 165 

2.  Waves 168 

(i)  As  to  Number  of  Slides 168 

(2)  As  to  Length  of  Slides 169 

(3)  As  to  Direction  of  Slides 170 

(4)  Vocal  Culture  of  Waves 170 


CONTENTS  ix 

Page 

3.  Intervals 173 

(i)   The  Semitone 173 

(2)  The  Second 176 

(3)  The  Third 178 

(4)  The  Fifth 180 

(5)  The  Octave 182 

(6)  Vocal  Culture  of  Intervals 1S5 

Section   III.    Melody 1S8 

1.  Current  Melody 188 

(i)   Chromatic  Melody 189 

(2)  Diatonic  Melody 189 

(3)  Broken  Melody 189 

2.  Cadence '9- 

(i)   Monad 193 

(2)  Duad 193 

(3)  Triad.     . i93 

(4)  Tetrad i94 

(5)  Pentad I94. 

PART  III.    ELEMENTS  OF  ACTION 

CHAPTER  IX.    CONCEPTION  OF  ACTION 199 

Section  I.    Impulse  to  Action 199 

Section  II.    Suppression  of  Self 199 

Section  III.    Limits  of  Personation 200 

I.  First  Law -oo 

■     2.  Second  Law -oi 

Section  IV.    Action   in  Figurative  Languagf.      ....  202 

CHAPTER  X.    REQUISITES  OF  ACTION 202 

Section  I.    Grace 202 

Section  II.   Force 202 

Section  III.    Precision 203 

1.  The  Preparation -°3 

2.  The  Stroke -03 

3.  The  Return -04 

Section  IV.    Economy -04 


X  ESSENTIALS   OF    PUBLIC   SPEAKING 

Page 

CHAPTER  XL    LAWS  GOVERNING  ACTION 204 

Section  I.  Zones  of  the  Body 205 

1.  The  Head 205 

2.  The  Torso 205 

3.  The  Limbs 205 

Section  II.    The  Arms 205 

1.  The  Upper  Arm 206 

2.  The  Forearm 206 

3.  The  Hand 206 

Section  III.    Principles  of  Gesture 206 

1.  The  Index 207 

2.  The  Supine 208 

3.  The  Prone 209 

4.  The  Reflex 210 

5.  The  Clasped 211 

6.  The  Averse 212 

7.  The  Clenched 213 

Section  IV.  Planes  of  Gesture 215 

1.  Plane  of  Equality 216 

2.  Plane  of  Superior 216 

3.  Plane  of  Inferior 217 

Section  V.   The  Legs 219 

1.  The  Foot 219 

2.  The  Lower  Leg 219 

3.  The  Upper  Leg 219 

Section  VI.    Positions  and  Attitudes 219 

1.  First  Position 220 

2.  Second  Position 221 

3.  First  Attitude 223 

4.  Second  Attitude 225 

(i)  Second  Attitude,  Fonvard 225 

(2)   Second  Attitude,  Backward 227 

Section  VII.    Technique  of  Action 229 

1.  Exercises  for  Freedom  of  Gesture 229 

2.  Exercises  in  Principles  of  Gesture 231 

3.  Exercises  in  Positions  and  Attitudes 231 


APPENDIX 


THE  SPEECH 


Section  I.    Variety  of  Occasions  and  Audiences 
Section  II.    List  of  Occasions  and  Audiences 

1.  Educational  Associations 

2.  Social  Institutions    .     . 

3.  Religious  Meetings  .    . 

4.  Judicial  Bodies     .     .     . 

5.  Legislative  Assemblies 

6.  Political  Gatherings 

7.  Commemorative  Occasions 


Page 


CHAPTER   I.    THE   OCCASION  AND   THE  AUDIENCE  .    236 


237 
238 
238 
-38 
239 
-39 
240 
240 
240 


CHAPTER  II.    THE  KIND  OF  SPEECH  AND  THE  SUB- 
JECT OR  PROPOSITION 241 

Section  I.    Kinds  of  Discourse 241 

1.  Announcements  and  Other  Business  Remarks    ....  241 

2.  Committee  Reports 242 

^  3.  Essays 242 

4.  Debates 242 

5.  Topical  Speeches 242 

6.  Addresses 243 

7.  Lectures  .  , 243 

\  8.  Orations 244 

Section  II.   The  Subject  or  Proposition 244 

1.  Question  for  Debate 245 

2.  Preparation  for  Discussion 245 


X  ESSEilALS   OF  PUBLIC  SPEAKING 

Page 
CHAPTnil.    THE  PLAN  OF  THE  SPEECH  AND  ITS 
gp  ESSENTIAL  QUALITIES 246 

tCTiON   I.    The  Plan 247 

1.  Introduction 247 

2.  Main  Discussion 247 

(1)  Historical  Order 247 

(2)  Logical  Order 24S 

(3)  Distributive  Order 248 

3.  Conclusion  or  Peroration 24S 

(1)  Summary 248 

(2)  Eloquence ^.     .     .    249 

(3)  Brevity .249 

(4)  Termination '  249 

Section  II.    The  Qualities  of  Discourse 249 

1.  Clearness 249 

2.  Force 250 

3.  Persuasiveness 250 


ILLUSTRATIVE  SELECTIONS 


Appeal  in  Behalf  of  Ireland Prentiss 

Arena  Scene,  The, from  "Quo  Vadis,"     .     .     .  Seinkien 

Battle  Hymn  of  the  Republic Hoxve     . 

Blacksmith's  Story,  The 0/h'e 

Blue  and  the  Gray,  The Lodge    . 

Boat  Race,  The Hughes 

Burial  of  Moses,  The Alexander 

Caught  in  the  Quicksand Hugo     . 

Character  of  Washington Webster 

Child's  Dream  of  a  Star,  A Dickens 

Commercial  Expansion McKinley 

Crossing  the  Bar Tennyson 

Dagger  Scene,  The,  from  "  Macbeth  "...  Shakespeare 

Darius  Green  and  his  Flying  Machine    .     .     .  Trciubridge 

Darkness Byron   .     . 

Dedication  of  Gettysburg  Cemetery    ....  Lincoln 

Elements  of  National  Wealth Blaine  .     . 

Fool  in  the  Forest,  A       .    ' Shakespeare 

Galileo Everett      . 

Garden  Scene,  The,  from  '■  Mary  Stuart  "       .  Schijler     . 

Grief  of  Ophelia,  The Shakespeare 

Hamlet's  Advice  to  the  Players       Shakespeare 

Hamlet's  Self-Reproach Shakespeaj-e 

Henry  Y  to  his  Troops Shakespeare 

Hero  of  the  Furnace  Room,  A Anonymous 

Horatius  at  the  Bridge Macaulay  . 

Horrors  of  Savage  Warfare Chatham    . 

How  we  hunted  a  Mouse Jenkins 

Impartial  Arbitration Bryan  .    . 

Irish  Disturbance  Bill,  The O'Conne/l 

Isle  of  Long  Ago,  The Tay/or  .    . 

Lady  Clare Tennyson 

Last  Leaf,  The Holmes      . 

Leper,  The       Willis    .     . 

xiii 


XIV 


ESSENTIALS   OF   PUBLIC  SPEAKING 


Macbeth  at  Dunsinane Shakespeare 

Mary's  Night  Ride Cable      .     . 

Murder  Scene,  The,  from  "  Macbeth  "...  Shakespeare 

My  Ships Wilcox .     . 

National  Flag,  The Beecher 

National  Morality Beecher     . 

New  South,  The Grady   .    . 

Ocean  Burial,  The Saunders  . 

Power  of  Habit,  The Goiigh   .    . 

Protestations    of    Love,    from    "  Much    Ado 

about  Nothing" Shakespeare 

Quarrel   of   Brutus   and   Cassius,    The,  from 

"Julius  Csesar" Shakespeare 

Resigiiation Longfellmv 

Ring  Out,  Wild  Bells Tennyson  . 

Sailing  beyond  Seas Ingelow 

Second  Trial,  A Kellogg 

Shylock's  Rage,  from  "  Merchant  of  Venice"  .  Shakespeare 

Sky,  The Riiskin      . 

Soldier's  Reprieve,  The Robbins      . 

Song  of  the  Brook Tennysoti . 

Sun  of  Liberty,  The Hugo    .     . 

University  the  Training  Camp,  The    ....  Grady  .    . 
Wit  and  Repartee  of  Benedick  and  Beatrice, 

from  "  Much  Ado  about  Nothing  "  .     .    .     .  Shakespeare 


Page 
l6l 
128 

lOI 

109 

37 
232 
190 

83 
113 

185 

150 
157 
159 
138 

77 
1S2 
158 
145 

59 
iSi 
179 

171 


ESSENTIALS   OF 

PUBLIC   SPEAKING 

INTRODUCTION 

Elocution  is  the  science  and  art  of  expression  by  voice  and 
action.  As  a  science  it  treats  of  the  elements  or  principles 
underlying  all  expression ;  as  an  art  it  embodies  the  correct 
use  of  these  principles  in  the -particular  phase  of  expression 
demanded  of  the  reader  or  speaker.  Just  as  the  musician  must 
master  the  technique  and  principles  of  music  before  he  can 
attain  the  highest  skill  in  his  art,  or  as  the  civil  engineer  must 
know  the  science  of  mathematics  before  he  can  succeed  in  the 
art  of  calculation,  so  the  speaker  must  understand  the  elements 
of  elocution  and  become  skilled  in  their  use  if  he  would  pass 
beyond  the  point  of  accidental  success  in  the  art  of  public 
speaking.  True,  a  person  may  sing  without  a  technical  knowl- 
edge of  music,  or  speak  reasonably  well  in  imitation  of  a  favor- 
ite speaker,  but  he  can  never  rise  to  the  highest  plane  except 
through  the  study  and  practice  of  correct  expressionrj  The 
purpose  of  training  in  elocution  is  to  develop  individuality 
so  that  the  speaker  may  be  original  and  not  imitative  in  his 
methods,  to  correct  his  bad  habits  of  speech  and  gesture  by 
fixing  good  habits  in  their  stead,  and  to  make  the  body  a 
responsive  instrument  to  obey  the  activities  of  the  mind  and 
the  impulses  of  the  heart/T 

Skill  in  the  use  of  the  principles  of  expression  is  an  accom- 
plishment in  ordinary  conversation.  Exercises  in  articulation, 
voice  and  action  necessary  to  the  highest  perfection  in  public 
speaking  have  an  agreeable  effect  upon  the  conversational  voice 


2  ESSENTIALS   OF   PUBLIC   SPEAKING 

and  manner.  The  tones  are  deepened,  the  resonance  improved, 
the  pronunciation  chastened;  all  of  which  are  accompHshments 
greatly  to  be  desired  in  everyday  hfe. 

YJTraining  in  expression  is  also  valuable  as  a  means  of  literary 
interpretation  and  entertainment.  It  is  a  source  of  pleasure 
and  culture  to  listen  to  the  skillful  reading  of  passages  from 
the  masterpieces  of  literature,  whether  in  public  or  in  the  home 
or  social  circle.  Such  exercise  of  one's  skill  is  not  only  enter- 
taining and  instructive  but  is  a  mark  of  courtesy  and  a  means 
of  refinement  to  a  community. 

But  skill  in  speaking  is  still  more  valuable  as  a  means  of 
persuasion.  The  time  will  never  come  when  people  will  not 
flock  to  hear  men  plead  causes  of  vital  interest.  There  will 
always  be  a  demand  for  those  who  can  speak  well,  for  business 
interests  require  men  who  can  present  cases  well  in  the  courts. 
The  effective  jury  lawyer  will  secure  a  much  larger  share  of 
the  business  of  the  courts  than  the  man  of  equal  learning  and 
high  character  who  is  not  effective  as  a  speaker.  Leaders  in 
committees,  conventions,  and  other  deliberative  assemblies  are 
almost  invariably  effective  speakers,  for  it  is  a  well-known  fact 
that  most  of  the  important  business  of  life  is  shaped  by  pithy, 
energetic,  short  speeches. 

The  testimony  of  the  great  orators  is  overwhelming  in  sup- 
port of  faithful  and  vigorous  practice  in  the  art  of  public 
speaking.  Gladstone  declares  that  "  time  and  money  spent 
in  training  the  voice  and  body  is  an  in\'estment  that  pays  a- 
larger  interest  than  any  other";  and  Spurgeon  says,  "I  believe 
that  every  one  should  train  his  voice  and  body,  first,  for 
the  health  it  affords ;  second,  for  its  educating  effects ;  third, 
for  the  advantage  it  gives  over  others  for  usefulness."  And 
Wendell  Phillips,  in  defense  of  such  training,  a  very  important 
factor  in  his  own  education,  declares  that  "  it  is  useless  to 
waste  words  on  any  man  ignorant  of  the  vast  power  of  agree- 
able and  eloquent  speech  in  a  republic."   \ 


INTRODUCTION  3 

The  problem  of  how  to  teach  the  subject  in  a  practical  way 
has  puzzled  the  schoolmen  and  vexed  the  instructor  whose 
duty  it  has  been  to  train  students  in  elocution.  Clearly  the 
best  way  to  teach  the  art  of  public  speaking  is  through  the 
science  underlying  that  art  and  through  practice  of  its  prin- 
ciples, which  may  be  taught  and  applied  as  are  the  principles 
of  other  liberal  sciences. 

That  one  may  progress  rapidly  and  consistently  it  is  neces- 
sary that  voice  and  action  should  be  developed  simultaneously. 
To  this  end  every  lesson  should  call  forth  exercises  in  vocal 
culture,  breathing,  pronunciation,  emphasis,  and  technique  of 
action,  drills  as  necessary  to  artistic  expression  as  drills  in 
music  and  painting  are  to  those  arts.  But  the  major  part  of 
the  hour  should  be  given  to  the  study  of  the  principle  of 
expression  under  consideration  and  the  practice  of  the  illus- 
trative selection  embodying  that  principle.  The  arrangement 
of  the  elements  and  illustrations  affords  ample  room  for  the 
individual  methods  of  the  instructor.  Each  principle  is  treated 
as  a  whole  and  in  combination  with  other  elements  in  their 
natural  sequence,  so  that  if  one  has  not  time  for  the  full  course 
it  is  complete  and  logical  as  far  as  one  goes.  The  judicious 
admixture  of  text  drill  and  illustrative  material  throughout  the 
course  makes  the  study  of  elocution  both  practical  and  effect- 
ive. To  treat  the  subject  in  a  dogmatic,  "lesson-leaf"  fash- 
ion would  be  to  discredit  the  good  taste  and  judgment  of 
the  teacher  and  limit  him  to  a  set,  mechanical  method.  The 
instructor  is  given  the  largest  freedom  in  the  assignment  of 
work  and  in  the  adaptation  of  the  text  to  the  individual  needs 
of  his  students. 

We  shall  treat  the  subject  under  three  heads:  (i)  the 
speakei\  his  formation  and  use  of  language;  (2)  the  elements 
of  iweal  exp7'ession  by  which  he  is  to  make  himself  effective 
orally  ;  (3)  the  p^Hnciples  of  action  by  which  he  satisfies  the 
eye  of  the  audience  and  reenforces  his  vocal  utterance. 


PART  I 
THE  SPEAKER 

In  this  division  of  the  book  we  shall  treat  certain  subjects 
relating  to  the  speaker  and  his  use  of  language  which  are 
inseparably  connected  with  the  art  of  public  speaking  but 
which  cannot  be  classed  as  elements  of  elocution.  They  are 
(i)  Man's  Triune  Nature,  which  deals  with  the  avenues  through 
which  one  receives  and  gives  out  impressions  ;  (2)  the  Vocal 
Organism  as  an  instrument  of  expression  ;  (3)  Pronunciation, 
which  deals  with  the  formation  of  sounds  and  words  ;  and  (4) 
Emphasis,  which  relates  to  the  enforcement  of  the  ideas  of 
language. 

CHAPTER  I 
MAN'S  TRIUNE  NATURE 

Impression  is  essential  to  expression.  We  must  possess  be- 
fore we  can  give.  The  object  of  elocution  is  to  aid  the  speaker 
to  give  correct  outward  expression  of  his  inner  consciousness. 
Before  the  student  can  hope  to  master  the  laws  of  expression 
he  must  know  something  of  this  inner  nature  and  the  avenues 
through  which  he  receives  his  impressions. 

An  analysis  of  the  psychic  being  reveals  the  well-established 
theory  that  man  is  one  in  consciousness  and  three  in  manifesta- 
tion ;  that  the  one  being,  the  ego,  has  three  natures,  (i)  the 
Vital,  (2)  the  Mental,  and  (3)  the  Emotive. 

I.  The  Vital  Nature  is  made  up  of  bone,  muscle,  sinews, 
nerves,  the  biain,  and  other  organs,  all  of  which  are  susceptible 
alike  to  the  buoyant  thrills  of  health  and  the  aches  and  pains 

4 


MAN'S   TRIUNE   NATURE  5 

"  flesh  is  heir  to."  The  body  is  the  seat  of  the  appetites,  the 
dwelling  place  of  the  mind,  and  the  "  temple  of  the  soul." 
Through  this  part  of  his  being  man  reveals  the  phenomena 
of  life  which  lasts  while  the  heart  beats  and  respiration  con- 
tinues. The  gymnastic  exercises  and  athletic  sports  so  prom- 
inent in  high-school  and  college  life  are  a  response  to  the 
demand  that  the  Vital  Nature  be  properly  developed. 

2.  The  Mental  Nature  is  that  part  of  the  being  through 
which  man  perceives,  remembers,  reflects,  invents,  reasons, 
and  attains  knowledge.  It  is  presided  over  by  the  mind,  which 
in  turn  has  its  seat  in  the  brain.  The  manifestation  of  this 
nature  is  evident  in  all  the  mental  activities.  Its  cultivation 
forms  a  large  part  of  school  and  college  education. 

3.  The  Emotive  Nature  is  that  part  of  man's  being  through 
which  his  affectional  or  passional  life  is  manifested.  Through 
it  he  loves  or  hates,  is  sympathetic  or  bears  antipathy,  is  loyal 
to  his  concepts  of  truth  and  duty  or  violates  law,  order,  and 
morality.  It  is  presided  over  by  the  soul,  the  cultivation  of 
which  is  the  aim  of  all  spiritual  education. 

These  three  natures,  —  the  Vital,  the  Mental,  and  the  Emo- 
tive, —  presided  over  by  life,  mind,  and  soul,  and  revealing 
sensation,  thought,  and  feeling,  all  living  and  blending  in 
one  being,  form  the  triangle  on  which  the  science  of  elocution, 
or,  speaking  more  broadly,  the  philosophy  of  expression,  is 
based.  Through  these  three  natures  man  receives  all  his  varied 
and  complex  impressions,  and  through  the  elements  of  elocu- 
tion responding  to  these  natures  he  may  hope  to  express  his 
own  thoughts  and  feelings  and  touch  responsive  cords  in  the 
life,  mind,  and  soul  of  his  audience.  It  then  becomes  our  task 
in  this  volume  to  discover  the  elements  of  expression  by  test- 
ing their  relation  to  Man's  Triune  Nature  and  showing  their 
revelatory  power  in  the  art  of  expression. 


6  ESSENTIALS   OF   PUBLIC   SPEAKING 

CHAPTER  II 

THE  VOCAL  ORGANISM 

The  voice  as  an  instrument  consists  of  (i)  Organs  and 
(2)  Muscles. 

SECTION  I.   ORGANS 

The  organs  of  voice  are  (i)  the  Lungs,  (2)  the  Trachea  and 
Bronchi,  (3)  the  Larynx,  (4)  the  Pharynx,  (5)  the  Nasal 
Cavities,  and  (6)  the  Mouth. 

1.  The  Lungs  constitute  the  bellows  of  the  voice.  Their 
function  is  to  receive  and  supply  air  for  the  sustaining  of  life, 
and  for  the  purposes  of  speech. 

2.  The  Trachea  and  Bronchi  form  the  air  passages  to  the 
lungs  and  act  as  resonators  for  the  voice.  The  flexible  rings 
of  cartilage  which  compose  the  Trachea,  or  windpipe,  and  the 
muscles  which  connect  them,  are  capable  of  being  distended 
or  narrowed,  lengthened  or  shortened,  so  as  to  affect  materially 
the  pitch  and  resonance  of  tone. 

3.  The  Larynx,  or  voice  box,  is  situated  at  the  top  of  the 
Trachea.    It  consists  of  five  cartilages.    Some  of  these  act  as  a 


Fig.  I.   Position  of  Cords 

IN  Tone  Production 

I,  I,  vocal  cords 


Fig.  2.   Position  of  Cords 

i.\  Deep  Breathing 

I,  I,  vocal  cords 


shield  to  the  more  delicate  parts  of  the  vocal  instrument,  and 
others  lengthen  or  shorten,  open  or  close,  the  vocal  cords. 
These  cords  are  two  pearly  white  ligaments  which  are  attached 


MUSCLES  7 

to  muscles  at  the  side  of  the  Larynx.  The  cords  stand  m  a 
horizontal  position  across  the  voice  box,  and  their  thin  inside 
edges  vibrate  as  the  air  is  sent  over  them  from  the  lungs,  and 
thus  produce  voicey^n  the  production  of  pure  tone  the  cords 
stand  very  close  together,  but  in  ordinary  breathing  they  are 
wide  apart,  as  shown  in  the  accompanying  figures. 

4.  The  Pharynx  is  that,  part  of  the  throat  between  the  larynx 
and  the  nasal  cavities^'lt  may  be  seen  when  the  mouth  is  well 
open,  the  tongue  depressed,  and  the  soft  palate  lifted.  The 
dome  of  the  Pharynx  just  back  of  the  soft  palate  is  one  of  the 
most  important  cavities  of  vocal  resonance. 

5.  The  Nasal  Cavities  are  two  irregularly  constructed  pas- 
sages separated  by  a  bony  partition  and  having  for  their  base 
the  hard  palate.  They  constitute  the  chief  air  passages  in 
normal  breathing,  and  act  as  resonators,  giving  ring  and  char- 
acter to  the  voiceVThese  cavities  temper  and  filter  the  air 
we  breathe  and  prevent  dryness  of  the  mouth  occasioned  by 
mouth  breathing. 

6.  The  Mouth  contains  the  articulating  organs,  —  the  tongue, 

the  lips,  and  the  palate.    The  dome  of  the  mouth  is  one  of  the 

chief  resonators  of  voice,  and  the  soft  palate  at  the  back  of  this 

dome  consists  of  a  flexible  fold  which  acts  with  the  tongue  in 

placing  and  shaping  tone. 
y 

SECTION  II.    MUSCLES 

The  chief  muscles  used  in  voice  production  are  (i)  the  Dia- 
phragm, (2)  the  Abdominal  Muscles,  and  (3)  the  Rib  Muscles. 

I.  The  Diaphragm  is  a  heavy  muscle  which  separates  the 
chest  from  the  abdomen.  It  stands  like  a  vaulted  arch,  with  the 
front  side  higher  than  the  back.  Its  function  is  to  contract  and 
flatten  in  inspiration  so  as  to  enlarge  the  cavity  of  the  chest, 
and  to  relax  to  its  normal  position  in  expiration  so  as  to 
decrease  the  chest  cavity. 


8  ESSEiNTIALS   OF   PUBLIC   SPEAKIxXG 

2.  The  Abdominal  Muscles  form  the  front  wall  of  the  abdo- 
men. This  wall  presses  out  as  the  diaphragm  contracts,  and 
moves  back  as  the  diaphragm  rises.  In  quiet  breathing  the 
diaphragm  and  abdominal  wall  act  and  react  alternately  upon 
each  other.  At  such  times  the  abdominal  muscles  are  only 
passively  engaged ;  but  in  forcible  expiration,  as  in  coughing, 
laughing,  or  shouting,  the  muscles  of  the  abdomen  strike 
inward  with  great  vigor. 

3.  The  Rib  Muscles  are  divided  into  the  outer  and  the  inner 
muscles.  The  outer  muscles  contract  and  lift  the  ribs  out  and 
up.  The  inner  muscles,  in  forced  expiration,  draw  the  ribs 
down  and  in  to  the  position  of  repose.  In  tranquil  breathing 
the  inner  muscles  are  not  actively  eng'aged,  as  the  ribs  fall  by 
their  own  weight. 


SECTION  III.    RESPIRATION 

Respiration  is  the  process  of  drawing  in  and  expelling  the 
breath,  primarily  to  sustain  life  and  incidentally  for  the  purposes 
of  speech.    The  two  acts  are  (i)  Inspira- 
tion and  (2)  Expiration. 

I.  Inspiration 

In  Inspiration  the  process  is  as  follows  : 
(i)  The  diaphragm  contracts  and  sinks. 

(2)  The  wall  of  the  abdomen  pushes 
forward. 

(3)  The   ribs   and    sternum   move   out 
and  up. 

(4)  The  upper  chest  is  expanded  later- 
ally and  vertically  (see  Fig.  3). 

As  these  four  acts  of  inspiration  pro- 
FiG.  3.  Inspiration  grsss  the  air  rushes  in  to  equalize  the 
1,  trachea;  2,  sternum;    pressure  and  expand  the  lungs.    Thus  in- 

3,  diaphragm ;  4,  ab-        *  '  ° 

dominal  walls  spiration  is  an  arti\-e  process. 


RESPIRATION 

2.  Expiration 

In  Expiration  the  process  is  reversed  : 
(i)  The  diaphragm  relaxes  and  rises. 

(2)  The  wall  of  the  abdomen  is  drawn 
in. 

(3)  The  ribs  and  sternum  move  down 
and  in. 

(4)  The  upper  chest  sinks  to  its  nor- 
mal position  (see  Fig.  4). 

Expiration  may  be  active  or  passive. 
It  is  active  in  vigorous  speaking,  laugh- 
ter, or  coughing,  when  the  expiratory 
muscles  outrun  the  relaxation  of  the  in- 
spiratory muscles.    It  is  passive  in  ordi- 


FiG.  4.    Expiration 


nary  breathing,  when  the  muscles,  made  i- trachea;  2,  sternum; 

,                111  ■?)  diaphraeni :  4.  ab- 

tense    m    mspiration,    relax    suddenly   to  dominal  walls 
their  normal  position. 


3.  Method  of  Breathing 

The  Law  of  Correct  Breathing  for  voice  production  is  as  fol- 
lows :  /;/  i)ispi)-atio)i  ilicre  s/ioitld  be  an  increase,  in  expiration 
a  decrease,  in  the  size  of  the  waist  and  the  loiuer  part  of  the 
chest.  The  chest  should  begin  to  enlarge  from  its  lowest 
depths.  The  depression  of  the  diaphragm  and  the  outward 
movement  of  the  abdomen  lower  the  floor  of  the  chest  and 
enlarge  its  vertical  diameter.  The  outward  and  upward  move- 
ment of  the  ribs  and  sternum  enlarges  the  chest  laterally  and 
vertically. 

The  lungs  are  the  bellows  of  the  vocal  apparatus,  and  the 
force  should  be  applied  around  the  waist,  at  the  largest  part  of 
the  bellows,  —  the  part  farthest  from  the  voice  box.  These 
parts  are  the  most  flexible,  and,  the  bony  structure  of  the  chest 
being  suspended  from  the  shoulders,  may  be  moved  back  and 


lO  ESSENTIALS   OF   PUBLIC   SPEAKING 

forth  by  the  muscles  without  being  hfted.  This  method  will 
enable  the  speaker  to  conserve  his  strength  and  grow  steadily 
in  vocal  power. 

If  the  abdomen  be  dra^^'n  in  and  the  chest  raised  in  inspira- 
tion, the  natural  movement  is  reversed  and  respiration  becomes 
fatigumg  because  the  chest  must  expand  at  its  smallest  and 
least  flexible  part,  and  because  the  shoulders  must  be  lifted 
and  sustained.  In  voice  production  it  is  difficult  to  sustain 
this  weight  and  supply  the  air  steadily.  This  accounts  for  the 
fact  that  persons  who  habitually  use  the  upper-chest  method 
produce  breathy  tones  and  do  not  progress  in  vocal  power. 

4.  Breathing  Exercises 
(i)   For  the  Lungs: 

a.  Inhale  slowly  through  the  nostrils  until  the  lungs  are  full, 
and  then  exhale  with  the  prolonged  sound  of  —  h  — .  Occupy 
about  ten  seconds. 

b.  Inflate  the  lungs,  hold  the  breath  5-10  or  15  seconds,  so 
that  the  heat  of  the  body  may  expand  the  air,  and  then  expel 
the  breath  in  about  one  second  with  the  whispered  sound 
of  —  hah  — . 

c.  Fully  inflate  the  lungs,  retain  the  breath,  strike  the  chest 
gently  ten  times  with  the  open  palms,  and  then  pour  out  the 
breath  quickly  in  the  whispered  sound  of  —  haw  — . 

d.  Inhale  and  retain  the  breath  while  striking  forward,  right 
and  left,  and  up  and  down,  vigorously  with  the  fist  as  follows  • 
right  arm  four  times,  left  arm  four  times,  alternately  four 
times,  and  simultaneously  four  times ;  exhale  quietly. 

e.  Place  the  arms  akimbo,  inhale  and  sustain  the  breath 
while  bending  the  body  to  the  right  four  times,  to  the  left 
four  tunes,  then  alternately  four  times;  exhale.  In  like  man- 
ner bend  forward  four  times,  backward  four  times,  then 
alternately  four  times. 


RESPIRATION  II 

{^2)  For  the    Vocal  Cords : 

a.  Inflate  the  lungs  and  exhale  slowly  with  the  sharpest 
possible  whisper  of  — ah — . 

b.  Repeat  the  above,  emitting  the  sound  in  glottal  strokes. 

(3)  For  the  Pharynx  and  Nasal  Cavities  : 

a.  Inflate  the  lungs  and  exhale  slowly  through  the  nostrils 
with  a  sharp  aspirated  sound. 

(4)  For  the  Abdominal  Muscles : 

a.  Inflate  the  lungs  and,  with  inward  strokes  of  the  ab- 
dominal wall,  expel  the  breath  in  partially  vocalized  coughs 
of  — uh — . 

b.  With  a  slight  occlusive  cough  of  —  uh  — ,  sound  each  of 
the  syllables  ha,  he,  hi,  ho,  hii,  three  times,  thus  :  uh-ha,  uh-ha, 
uh-ha  \  uh-he,  uh-he,  uh-he,  etc.    Take  breath  after  each  set. 

c.  Inflate  the  lungs,  and  with  abdominal  impulses  expel  the 
breath  through  the  nostrils  in  a  suppressed  or  aspirated  laugh. 

d.  Laugh  out  each  of  the  vowels  a,  e,  1,  6,  \\,  6,  beginning 
slowly  and  accelerating  the  abdominal  strokes, 

(5)  For  the  Diaphragm  : 

a.  Draw  in  the  breath  with  vigor  through  the  smallest  pos- 
sible opening  of  the  lips.  Exhale  with  equal  vigor  through  the 
compressed  lips  (abdominal  action). 

(6)  For  the  Rib  Muscles  : 

a.  Take  breath,  distending  the  ribs  laterally  as  far  as  pos- 
sible, then  contract  them  in  expiration. 

(7)  Catch-hrcath  Exercises : 

a.  Catch  the  breath  quickly  and  inaudibly,  first  through  the 
mouth,  then  through  the  nostrils. 

b.  Count  by  threes,  by  fives,  and  by  tens,  inhaling  after 
each  group. 

It  is  better  to  take  partial  breaths  at  frequent  intervals  than 
full  breaths  at  long  intervals.  The  habit  of  taking  short,  in- 
audible inspirations  between  the  phrases  of  speech  should  be 
carefully  cultivated. 


12  ESSENTIALS   OF    PUBLIC   SPEAKING 

SECTION  IV.    VOCAL  CULTURE 

It  is  the  Purpose  of  Vocal  Culture  to  develop  that  which  is 
good  in  the  voice,  correct  its  imperfections,  and  acquire  skill 
in  its  use. 

The  chi'ef  attributes  of  a  good  voice  are  (i)  Purity,  (2) 
Strength,  and  (3)  Flexibility.  If  well  developed  in  these 
directions  a  voice  is  capable  of  responding  to  every  require- 
ment in  expression. 

1.  Purity  of  tone  requires *free  vibration  of  the  vocal  cords, 
healthfulness  of  the  resonant  cavities,  and  the  vocalization  of 
all  the  breath  used. 

2.  Strength  depends  upon  the  breadth  of  vibrations  and  the 
power  to  project  and  sustain  tones. 

3.  Flexibility  is  dependent  upon  the  elasticity  of  the  vocal 
cords  and  the  power  to  vary  tones  through  the  scale  of"Pitch. 

\oz<\\  culture  is  dependent  upon  correct  breathing.  If  the 
method  of  breathing  is  correct,  vocalization  becomes  voice 
culture.  But  even  with  the  best  of  methods  the  voice  must 
not  be  overworked.  The  speaker  should  not  strain  to  reach 
a  degree  of  intensity  beyond  his  vocal  strength.  The  voice  is 
a  delicate  instrument  and  must  be  developed  gradually.  It 
must  have  rest,  and  time  to  grow.  Training  should  be  vigor- 
oAis  but  not  violent,  and  one  should  cease  practice  when  the 
organs  are  tired.  A  speaker  who  fails  to  replenish  his  vocal 
powers  or  produces  tone  by  wrong  methods  draws  upon  his 
stock  of  vitality  whenever  he  speaks,  and  his  ultimate  breaking 
down  is  only  a  question  of  time. 

Voice  culture  is  more  reasonable  and  more  progressive  if 
given  under  the  mental  condition  implied  in  the  tones  used. 
As  the  brain  controls  the  vital  functions  of  the  body  one 
should  think  the  thought  and  feel  the  emotion  embodied  in 
the  sounds  given.  This  idea  should  ])e  kept  steadily  in  view 
not  only  in  the  exercises  given  in  this  section  but  in  those 
which  follow  each  of  the  vocal  elements  treated  in  Part  II. 


VOCAL  CULTURE  13 

I.  Care  OF  the  Voice 

Diseases  of  the  vocal  organs  come  quite  as  much  from  gen- 
eral disturbances  as  from  .colds  and  sore  throat.  Sickness  of 
any  kind  weakens  the  voice,  and  nothing  so  surely  as  a  disor- 
dered digestion.  If  the  voice  be  subjected  to  hea-\y  strain 
when  the  body  is  in  a  weak  condition,  it  tends  to  weaken  the 
voice  permanently.  Nothing'  promotes  vigor  of  vocal  power 
so  much  as  good  health,  and  nothing  is  so  essential  to  good 
health  as  regular  habits  of  eating,  sleeping,  bathing,  and 
exercise. 

Physical  exercise  should  be  vigorous,''  but  not  violent  or  ex- 
cessive. Those  exercises  are  best  which  develop  the  chief  fac- 
tors of  good  health,  —  (i)  the  heart,  (2)  the  lungs,  (3)  the 
digestive  apparatus,  and  (4)  the  nervous  system. 

T%e3e-  exercises  should  be  carried  on  regularly  and  with 
intelligence.  The  best  exercise  is  a  game  of  some  kind,  pref- 
erably in  the  open  air,  which  keeps  the  mind  intent  on  the 
point  to  be  gained  and  not  on  the  exercise  necessary  to 
health.  The  best  of  such  games  are  golf  and  tennis.  Other 
forms  of -exercise  are  walking,  wheeling,  rowing,  fencing,  and, 
what  is  less  exhilarating,  the  various  forms  of  exercise  in  a 
well-equipped  g\^mnasium.  In  all  these  exercises  the  end 
sought  should  be  vitality  and  not  brawn.-  After  vigorous  exer- 
cise the  body  should  not  be  exposed  to  draughts  but  should 
be  allowed  to  assume  its  normal  temperature  gradually. 

The  public  speaker  should  not  use  the  voice  vigorously  very 
soon  after  a  meal,  or  in  a  cold  room,  or  in  the  open  air  in  raw, 
cold  weather.  The  body  should  be  warmly  clothed  but  the 
neck  and  throat  should  not  be  too  closely  bound  up. 

The  very  prevalent  habit  of  drinking  cold  water  during  the 
progress  of  a  speech  is  much  to  be  condemned.  A  prominent 
physician  says  :  "  To  drink  cold  water  during  a  speech  has 
much  the  same  effect  on  the  throat  as  pouring  water  on  a  red- 
hot  stove."    It  produces  congestion. 


14  ESSENTIALS   OF   PUBLIC   SPEAKING 

We  would  caution  also  against  the  habit  of  using  troches 
to  clear  the  voice.  Many  of  them  contain  opiates,  which  for  a 
time  may  stimulate  the  voice,  but  which  in  the  end  are  a  posi- 
tive injury. 

It  is  gratifying  to  note  that  educators  are  more  fully  appre- 
ciating the  value  of  physical  education ;  and  along  wath 
opportunities  for  mental  development  large,  well-equipped 
gymnasiums  and  athletic  fields  are  being  provided  for  students 
and  placed  under  the  direction  of  men  skilled  in  the  art  of  phys- 
ical development.  All  such  development  tends  to  strengthen 
the  voice. 

2.  Vocal  Exercises 

In  practicing  the  following  exercises  first  give  the  phonetic 
sound  four  times  and  then  pronounce  the  word  containing  the 
sound.  For  example,  a  —  a  —  a  —  a  —  arin  ;  g  —  g  —  g  — 
g  —  gun  ;  p  —  p  —  p  —  p  — pope. 

(i)   For  clearness,  strength,  and  evenness  of  tone : 


e  as  in  me 

a  as  in  ale 

a 

as  in  air 

a    "   "  arm 

a    "   "  all 

6 

"   "  old 

e    "   "  eve 

00  "   "  ooze 

a 

"   "  arm 

i    "   "  ill 

e    "   "  end 

a 

"    "  at 

u   "   "  use 

u   "   "  pull 

6 

"   "  son 

oi  "   "  oil 

i    "   "  isle 

ow 

"   "  owl 

(2)  For  development  of  the  trachea,  larynx,  and  pharynx  : 
b  as  in  bob  d  as  in  did  g  as  in  go 

(3)  For  recnforcing  vibrations  : 

V  as  in  vine  z  as  in  zone  zh  as  in  azure 

j   "   "  judge  1  "    "  lull  r     "   "  roar 

(4)  For  the  nasal  ca'vities  : 

m  as  in  mum  n  as  in  none  ng  as  in  sing 


VOCAL  CULTURE 


15 


(5  )  For  economy  of  breath 


p    as  m  pope 

t    as  in  tut 

k    as  in  kick 

th  "    "  thin 

ch  "    "  church 

sh  "    "   shun 

f     "   "  fife 

h     "   "  has 

s     "   "  sauce 

(6)  For  placing  tone  : 

Begin  with  a  humming  sound  of  —  m  —  and  glide  into 
e-i-o-a,  swelling  out  on  the  last  vowel.  Practice  this  exercise 
in  notes  of  song  on  C,  E,  and  G  of  the  iiiusical  scale.  Follow 
this  drill  with  the  sounds  of  a,  a,  a,  0,  given  separately  with 
tones  placed  as  suggested. 

(7)  For  range  a7id flexibility  of  voice : 

Sound  the  vowels  a,  e,  i,  0,  u,  oi,  ou,  up  and  down  the  scale 
in  spoken  tones,  as  though  in  question  and  answer,  thus  : 

Did  I  say  a  C7    or  a      \  ;   e  0/  or  e      \  . 

After  using  the  words  of  the  question  a  few  times  omit  them 
and  speak  the  vowels,  thus  : 

ac/ora\:ec/ore      \,  etc. 

In  this  exercise  let  the  tone  cover  at  least  five  notes  of  the 
scale. 

(8)  For  flexibility  of  articulating  organs  : 


b 

w 

ith 

a 

zh 

with 

a 

k 

with  a 

d 

e 

w 

e 

f 

"      e 

g 

i 

y 

i 

P 

"      i 

m 

0 

th 

0 

t 

"      0 

n 

u 

j 

u 

s 

"      u 

V 

oi 

1 

oi 

ch 

oi 

z 

ou 

V 

ou 

sh 

"     ou 

a.  In  the  above  table  of  exercises  combine  each  consonant 
singly  with  all  the  vowels  in  the  opposite  column,  as  ba,  be,  bi, 
bo,  bu,  boi,  bou ;  da,  de,  di,  do,  etc. 


l6  ESSENTIALS   OF   PUBLIC   SPEAKING 

b.  Reverse  the  order  of  exercises,  combining  each  vowel 
singly  with  all  the  consonants  in  the  opposite  column,  as 
ab,  ad,  ag,  am,  an,  av,  az ;  eb,  ed,  eg,  em,  etc. 

These  may  be  given  in  speech  notes  as  in  exercise  (7),  rising 
and  falling  on  each  combination. 


CHAPTER  III 
PRONUNCIATION 

Pronunciation  is  the  utterance  in  a  single  impulse  of  the 
elements  that  constitute  a  word.  To  pronounce  well  one  must 
hear  good  pronunciation.  It  must  become  a  habit,  —  a  second 
nature,  —  and  so  easy  as  not  to  attract  attention. 

The  pronunciation  of  words  is  established  by  the  usage  of 
people  of  high  social  and  intellectual  culture.  The  dictionary 
is  a  record  of  that  usage  and  should  be  followed  by  the  masses. 

I.  PHONETIC   SOUNDS 

The  phonetic  sounds  used  in  pronunciation  are  divided  into 
three  classes,  —  (i)  Tonics,  (2)  Subtonics,  and  (3)  Atonies. 

1.  Tonics  are  clear,  open,  unobstructed  tones.  All  vowels 
and  diphthongs  are  of  this  class,  e.g.  a,  e,  0,  ae,  oi,  etc. 

2.  Subtonics  are  tones  modified  by  the  articulating  organs. 
All  consonants  that  have  tone  are  of  this  class,  e.g.  b,  1,  m,  ng, 
z,  etc. 

3.  Atonies  are  sounds  without  tone.  They  are  breath  modi- 
fied by  the  articulating  organs.  All  consonants  that  have  no 
tone  belong  to  this  class,  e.g.  f,  h,  k,  p,  t,  sh,  etc. 

The  number  of  phonetic  sounds  has  been  variously  estimated 
at  from  forty  to  forty-seven,  but  for  all  practical  purposes  the 
number  may  be  placed  at  forty-three,  as  follows  : 


PRONUNCIATION 
Table  of  English  Sounds 


17 


Tonics 

SUBTONICS 

Atonics 

a  as 

in  ale 

b  ■  as  in 

l>ol> 

f 

as  in 

fife 

a     ' 

'      a  I'm 

d 

did 

h 

lias 

a      ' 

'       all 

g        " 

gag 

k 

kick 

a      ' 

'       ai?- 

J 

judge 

P 

pope 

a      ' 

'       ask 

1 

lull 

s 

sauce 

a      ' 

'      at 

m       " 

11  nun 

t 

tut 

e 

e      ' 
e      ' 

'       e7'e 
'       end 
'       err 

n        " 

.  r        " 

V         " 

w       " 

y 

null 

roar 

vivid 

wild 

yet 

sh 
ch 
th 
wh 

shun 
church 
thin 
ivhen 

i      ' 

'       isle 

i      ' 

'       ?7/ 

z         " 
ng      " 

zone 
sing 

0      ' 

'       old 

0      ' 

'       ^.7 

th      " 

then 

0      ' 

'          J'C'W 

z(zh)  " 

azure 

u     ' 

'       use 

u     ' 

'      /;/// 

oi     ' 

'       oil 

ou    ' 

'       ^w/ 

II.  TIME  VALUE  OF   SOUNDS 

When  examined  as  to  their  quantity,  the  phonetic  sounds 
are  of  two  classes,  —  (i)  SfoJ>l  and  (2)  Contmuant. 

I.  Stopt  sounds  are  those  that  may  not  be  held  profitably 
to  any  considerable  extent.  They  are  capable  of  slight  dura- 
tion but  are  not  all  of  the  same  length.  For  example  b,  d,  and 
g  are  longer  than  p,  t,  and  k,  but  not  sufficiently  long  to  be 
called  continuants.  The  sounds  of  s  and  sh  may  be  excepted 
occasionally  for  the  purposes  of  expression,  as  in  the  hiss  or 
the  injunction  to  silence,  when  they  may  be  i)rolonged  to 
advantage. 


i8 


ESSENTIALS   OF  PUBLIC  SPEAKING 

Tabic  of  Stopt  Sounds 


Vowels 

Consonants 

a  as  in  at 

•b    as 

in  boh 

a       "       ask 

d        ' 

'       did 

e      "       met 

g       ' 

g(^g 

i       "      // 

f        ' 

fife 

0      "       sou 

h      ' 

hat 

U        "       put 

j     ' 

jig 

k      ' 

kick 

P       ' 

pop 

s       ' 

sat 

t 

tat 

th     ' 

thin 

ch     ' 

chat 

sh     ' 

shun 

wh   ' 

lohcn 

2.  Continuant  sounds  are  such  as  may  be  prolonged  to  ad- 
vantage.   Examples  :  1,  m,  r,  v,  a,  a,  5,  i,  etc. 

Tabic  of  Continuant  Sounds 


Vowels 

Consonants 

a 

as  in 

ale 

1     as  in 

lull 

a 

arm 

m      " 

me 

a 

all 

n       " 

nun 

a 

ail- 

r        " 

roe 

e 

eve 

V        " 

vie 

e 

err 

w       " 

woe 

i 

isle 

y     " 

yet 

0 

old 

z         " 

zone 

00 

ooze 

th      " 

then 

u 

use 

ng     " 

sing 

oi 

oil 

zh     " 

azure 

ou 

02  (r 

QUALITY  OF  VOWEL  SOUND  19 

in.  REQUISITES   OF  PRONUNCIATION 

In  the  application  of  the  phonetic  sounds  in  pronunciation 
there  are  four  prime  requisites  :  (i)  Correct  Quality  of  Vowel 
Sound,  (2)  Clear  Articulatioti,  (3)  Correct  Syllabication,  and 
(4)  Proper  Accent. 

SECTION  L    QUALITY  OF  VOWEL  SOUND 

Quality  of  Vowel  Sound  is  the  shading  given  to  the  vowels 
by  different  positions  of  the  articulating  organs.  To  illustrate  : 
there  are  six  different  qualities  or  sounds  of  a  given  in  stand- 
ard dictionaries,  as  follows  :  a  (ale),  a  (arm),  a  (all),  a  (ask), 
a  (air),  a  (at).  The  careful  distinction  given  to  these  and 
other  vowel  sounds  is  the  groundwork  of  correct  pronunciation. 
The  dialects  and  provincialisms  heard  in  different  sections  of 
this  and  other  English-speaking  countries  come  chiefly  from 
wrong  sounding  of  the  vowels. 

Defects  in  Vowel  Quality 

The  following  are  some  of  the  most  common  defects  in 
vowel  quality : 

(i)  «(ale)  is  frequently  modified  to  short  Italian  ^?(ask), 
with  e  to  close,  thus  :  day  =  dae.  Pronounce  the  following 
with  the  positive  long  sound  of  the  vowel : 

day 
clay 
hay 

(2)  Italian  a  (arm)  is  often  modified  to  short  Italian  a  (ask)  ; 
to  short  a  (at)  ;  to  broad  a  (all)  ;  or  even  to  flat  a  (air).  Re- 
tain the  Italian  sound  in  the  following  : 

vaunt  haunt  launch  calm 

daunt  jaunt  haunch  palm 

gaunt  stanch  balm  psalm 


stay 

gray 

way 

pray 

may 

fray 

play 

spray 

tray 

20  ESSENTIALS   OF  PUBLIC  SPEAKING 

(3)  Broad  a  (all)  and  its  equivalent  0  (order)  are  often 
given  with  Italian  a  (arm)  ;  thus  thought  becomes  that.  Pre- 
serve the  broad  sound. 

all  awful  sought  taught 

call  lawful  thought  wrought 

daughter  straw  caught  fought 

(4)  Short  Italian  a  (ask)  is  often  given  as  Italian  a  (arm) 
under  the  mistaken  belief  that  the  Italian  rt's  are  of  the  same 
quality ;  more  often  it  is  made  short  a  (at),  and  very  often 
a  (air).    Preserve  the  short  Italian  sound  in  the  following  : 

ask  blast  brass  calf 

answer  vast  grass  laugh 

after  fast  pass  staff 

(5)  Short  a  (pit)  is  frequently  sounded  like  one  of  the 
Italian  a's,  especially  by  singers  who  find  them  more  agreeable 
for  song  notes.    Thus  man  and  stand  become  mlin  and  st'dtid. 

Short  a  before  r  is  quite  often  given  as  short  .?(met).  Thus 
marry  becomes  merry.  Preserve  the  short  sound  in  the 
following : 

and  mad  marry  carry 

stand  glad  Harry  character 

hand  bad  Harrison  parasite 

(6)  In  pronouncing  e,  i,  11,  and  y  before  r  no  effort  need  be 
made  to  distinguish  between  them.  This  conclusion  is  reached 
after  careful  perusal  of  the  latest  standard  dictionaries. 

her  sir  urn  myrrh 

fern  stir  turn  myrtle 

mercy  bird  fur  Hyrcan 

(7)  Long  00  (moon)  and  u  (rude)  are  often  given  the  sound 
of  short  00  (foot).    Retain  the  long  00  in  the  following  : 

root  soon  rude  fruit 

boot  noon  rule  brute 

moon  roof  truth  rue 


QUALITY   OF  VOWEL  SOUND  21 

(8)  The  equivalent  sounds,  o  (son)  and  u  (up),  are  often 
given  the  sound  of  ^  (got)  ;  not  infrequently  ^(met).  Pro- 
nounce with  short  u  (cup)  the  following  : 

love  mother 

done  flood 

blood  son  _ 

(9)  Long  u  (j'  +  00)  is  a  much  abused  sound.  The  tendency- 
is  to  drop  the  y  element  when  the  sound  is  preceded  by  a 
consonant.  Best  usage  sanctions  this  when  /  precedes  u,  if  the 
/  be  preceded  by  another  consonant.  The  Century  Dictionary 
permits  the  use  of  long  00  without  the  y  element  in  words  like 
the  following  : 


gun 

judge 

sun 

blush 

fun 

budge 

blue 

slew 

plumage 

flew 

clue 

flue 

blew 

flume 

flute 

plume 

glue 

fluent 

In  the  following  and  similar  words  the  y  element  should  be 
retained  without  making  it  unduly  distinct. 

duke  constitute  lute  neutral 

due  institute  tune  news 

duty  revolution  tumuh  produce 

(10)  A  fruitful  source  of  mispronunciation  is  the  tendency 
to  make  all  short  ^'s  alike  ;  for  example,  sot  and  song,  which 
have  the  same  diacritical  mark,  should  not  be  given  alike.  The 
latter  should  have  a  broader  sound  intermediate  between  short 
0  and  aiv,  for  the  reason  that  a  vowel  is  lengthened  or  short- 
ened by  the  quantity  of  the  consonant  that  succeeds  it.  In 
this  instance  ng  is  much  longer  than  t.  This  intermediate 
sound  is  heard  in  accented  syllables  in  which  0  is  followed  by 
/,//,  ss,  st,  n,  fig,  and  g. 

off  cross  lost  long 

cough  loss  cost  song 

loft  moss  frost  dog 


22  ESSENTIALS   OF   PUBLIC    SPEAKING 

(ii)  The  tendency  to  make  vowels  of  unaccented  syllables 
too  distinct  is  a  prevalent  source  of  mispronunciation.  Some- 
times they  are  not  made  distinct  enough. 

There  are  two  degrees  of  such  sounds  —  obscure  long  vowels 
and  obscure  short  vowels. 

a.  In  obscure  long  vowels  the  quality  remains  long  but  is 
passed  over  very  lightly. 

Amenable  e\^horai&  demc>crat  r&gulaie. 

carb^Tirtite  z'dealism  rqjublican  forensic 

enervate  ^;ration  ecl//c«te  amuse 

Ik  In  obscure  short  vowels  the  specific  quality  is  lost  and  is 
reduced  to  a  neutral  sound,  the  slightly  uttered  short  ti  (up). 

formal  \)oe\.  idfl  cons?d 

garland  pup/1  capitd  student 

travel  mer/t  ioxiaw  benevo]<?nt 

The  obscure  short  vowel  is  heard  in  unaccented  syllables  end- 
ing in  r.    Vowels  in  such  position  are  all  of  the  same  quality. 

friar  doctor  senator  solicitor 

porter  sulphur  orator  creator 

nadir  satyr  legislator  sailor 

There  are  other  sources  of  mispronunciation  from  wrong 
use  of  vowel  quality,  but  the  foregoing  are  the  chief  ones  and 
will  serve  to  awaken  interest  in  pronunciation  and  in  a  more 
careful  use  of  the  dictionary. 

SECTION  II.    ARTICULATION 

Articulation  is  the  jointing  or  linking  together  of  the  ele- 
ments of  a  word.  This  term  is  used  chiefly  with  reference  to 
the  execution  of  consonants. 

An  accurate  and  distinct  articulation  is  the  basis  of  good 
delivery.  There  is  a  physical  advantage  in  good  enunciation 
because   it   requires  less   breath   to   speak  distinctly   than   to 


ARTICULATION 


23 


mumble.  In  mumbling  the  sounds  slip  out  carelessly ;  there  is 
a  waste  of  breath  and  hence  a  waste  of  vitality.  There  is  also 
a  decided  advantage  to  the  audience.  If  the  utterance  be 
indistinct,  the  audience  must  strain  to  understand  the  words. 
Under  such  a  strain  people  grow  weary  and  finally  become 
listless  and  restless.  They  should  be  relieved  of  this  weariness 
by  clear  enunciation,  and  be  free  to  devote  themselves  to  the 
thought  of  the  speaker. 

The  law  of  correct  articiilatio7i  is  strength  of  contact  and 
quickness  of  release  of  the  articulating  organs. 

I.  Oral  Position  of  Consonants 

Consonants  when  considered  as  to  their  location  in  the  or- 
gans of  articulation  are  of  three  classes,  —  (i)  Labials,  (2)  Lifi- 
gna/s,  and  (3)  Palatals. 

(i)  Labials  are  those  consonants  in  which  the  lips  are  the 
flexible  part  in  their  formation,  e.g.  /',  /,  m,  v. 

(2)  Linguals  are  consonants  in  which  the  tongue  is  the 
flexible  agent  in  their  production,  e.g.  d,  /,  ;/,  r. 

(3)  Palatals  are  consonants  formed  by  the  action  of  the 
soft  palate  and  tongue  at  the  back  of  the  mouth,  e.g.  g,  k,  ng. 

Table  of  ConsonaJits 


Labials 

Linguals 

Palatals 

b     as  in  Iwh 

d 

as  in 

did 

g    as  in  gag 

f         "     fife 

J 

jnds^e 

h        "      hat 

m       "      ti  111971 

1 

lull 

k       "       hick 

p        "      pipe 

n 

unit 

y       "      yet 

V         "       z'iite 

r 

roar 

ng     "      smg 

w       "       zaeal 

s 

sin 

wh     "       'when 

t 

z 

th 

th 

ch 

sh 

tut 

zone 

then 

thin 

church 

shun 

zh 

azure 

24 


ESSENTIALS   OF   PUBLIC  SPEAKING 


2.  Cognates 

Cognates  are  consonants  that  have  the  same  position  but 
different  sounds;   for  example,  d  and/;  /and  ?■ ;   ^  and  /. 

There  are  three  classes,  —  (i)  Labial  Cognates,  (2)  Lingual 
Cognates,  and  (3)  Palatal  Cognates. 

Table  of  Cognates 


Labial  Cognates 


Subtonic 


Atonic 


Lingual  Cognates 


Subtonic 


Atonic 


Palatal  Cognates 

I * 

Subtonic  Aton 


\>(boV),  TS\.{innm);  'p{/>ui) 
V  (vivid);  i(fi/e) 

W  (weal)  ;  wh  (when) 


d  (did),  n  (no)  ;  t  (tz(t) 

j  (judge)  ;  Ch  (chat) 

Z  (zone) ;  S  (sin) 

th  (then) ;  th  (thi7i) 

zh  (azure)  \  Sh  (shtnv) 


g  {gig),  ng  (sing)  ;  k  (kick) 
Y{yet);  b(/ui/) 


In  using  cognates  or  the  same  sounds  in  conjunction  this 
law  should  be  observed  :  Wlien  a  word  ends  in  a  sound  with 
which  the  next  word  begins,  or  if  the  sounds  be  cognates,  one 
position  of  the  organs  will  do  for  both. 

Illustrations  of  the  Conjunction  of  Cognates 

1.  They    lived^near    Five^Forks. 

2.  He    has^said    we    want^none. 

3.  They    stop_ mercy    and    leap^bounds. 

4.  Live^for    others. 

5.  They   hovered^near. 

Illustrations  of  the  Conjunction  of  the  Same  Sounds 

1.  The    lion^never._,runs. 

2.  Mail^Iines    are    with^theni. 

3.  Arin^me    for    truth's^sake. 

4.  None    knew    a    lovelier   boy. 

5.  Tell    him    not^to    do    so. 


ARTICULATION  25 

In  practice  the  student  should  hold  the  organs  in  the  same 

position  through  both  sounds.    In  the  words  lion  never  the 

n      n 
two  ;/'s  may  be  represented  thus  :  -0-<0-.    The  stream  of 

tone  instead  of  being  broken  is  continued  and  swells  out  on 

the  separate  sounds. 

The  same  is  true  of  the  cognates  d  and  71  in  lived  near,  only 
that  the  sound  is  changed. 

It  is  a  serious  fault  in  the  articulation  of  abrupt  consonants, 
such  as  b,  d,  g,  p,  t,  to  separate  the  organs  too  abruptly  at  the 
close  of  the  sound.  This  is  noticeable  in  such  expressions  as 
"don't  you,"  in  which  one,  in  trying  to  avoid  the  slovenly 
pronunciation  "donchoo,"  goes  to  the  other  extreme  and  adds 
an  extra  syllable,  as  "  don-ta-you."    Avoid  both  extremes. 

3.  Exercises  in  Articulation 

(i)  Give  each  of  the  following  drills  three  times  in  succes- 
sion :  ip,  it,  ik ;  kiff,  kiss,  kish ;  which,  church,  myth;  lil,  lol, 
la ;  rare,  rear,  car ;  form,  from,  far ;  jeer,  Zeb's,  wit ;  yet, 
you,  yawn  ;  la,  sea,  tha ;  ke,  koo,  ka  ;  soo — e — i — o — ah.  — 
Adapted  from  Churchiir  s  Vocal  Exercises. 

(2)  Sound  separately  and  distinctly  each  element  of  the 
following  : 

Initial  Combinations  of  Consonants 

^;-(ink),  ^/(ack),  rt';-(ench),  dw{&\\) 
y7(ed),/>-(ame),  _^/(are),  <f;-(ain) 
<r/(ash),  ^;-(own),  ^//'(ick), /r(ank) 
//(an),  /w(eak),  j/(ot),  j-/r(ing) 
j//(ash),  sph(txe),  j/(and),  str{-a.\n) 
j«(are),  jw/(ote),  j/(ain),  sk(j) 
scl(a.ve),  s(/?((are),  t/ir(\ve),  tr(\m) 

Sound  each  combination  in  this  manner  :  /'-/-ink,  brink  ; 
i^-/-ack,  black,  etc. 


26  ESSENTIALS   OF   PUBLIC   SPEAKING 

(3)  In  a  similar  manner  practice  the  following : 

Terminal  Co)?ibinations  of  Consonants 
(pro)d(/si,  {txo\i)brdst,  (c,\i)rbs,  (dee)rt'j 
(xn\)dsl,  (hrt2i)dths,  (?,X.r2Ln)gP d,  (j\i)dg'd 
(x?i)fflst,  (vf3i)/Ys,  {fC)fihs,  (m2i)sk 
(ra)jr^,  (fi)sls,  (mu)/c/i'd,  (h\i)/ds 
(e)//ns,  (t)lks,  (ie)U,  (d\)w'dsf 
(te)/n/>/s,  (hu)rgs,  (cu)r7''s,  (ha)r^// 
(h\)r///s  ,  (cha)j-///j-,  (cry)/>ts,  (bea)/j- 

Sound  each  combination  thus  :   pro-/^-^/-j--/ ;   tron-l^-P-d-s-i ; 
etc. 

(4)  Practice  the  following  sentences  with  strict  reference 
to  distinctness  of  enunciation  : 

This  shall  slay  them  both. 

I  will  show  you  a  ship  of  state  sailing  in  shallow  seas. 

It  is  the  first  step  that  costs. 

Thou  wast  struck  dumb  with  amazement. 

He  was  incapable  of  a  mean  and  questionable  act. 

Thou  prob'st  my  wound  instead  of  healing  it. 

His  deeds  speak  his  praise. 

The  breadth  thereof  was  ten  cubits. 

What  thou  wouldst  highly  that  wouldst  thou  holily. 

Thou  wagg'st  thy  tongue  in  vain. 

If  thou  fall'st  thou  fall'st  a  blessed  martyr. 

Thou  found'st  me  poor  and  kept'st  me  so. 

He  brought  in  Smith's  Thiicydides. 

This  meteorous  vapor  is  will-o'-the-wisp. 

The  sounds  of  horses  hoofs  were  heard. 

He  was  overwhelmed  with  whirlwinds. 

Thou  barb'st  the  dart  that  wounds  thee. 

Thou  chuckl'dst  over  thy  gain  too  soon. 

The  bleak  breeze  blighted  the  bright  blossoms. 

Flesh  of  freshly  dried  flying  fish. 

A  world  too  wide  for  his  shrunk  shank. 

The  Japanese  sink  six  Ru.ssian  ships. 


SYLLABICATION  2/ 

SECTION  III.    SYLLABICATION 

Syllabication  is  the  process  of  dividing  words  into  syllables. 

A  syllable  is  an  element  or  combination  of  elements  uttered 
with  a  single  impulse  of  the  voice  and  constituting  a  word  or 
a  part  of  a  word. 

In  pronunciation  there  must  be  a  separate  syllable  for  each 
vowel  or  diphthong  on  account  of  the  strength  of  their  vocal- 
ity ;  for  example,  ah,  bean,  i-de-al,  a-e-ri-al. 

Liquid  consonants  coming  at  the  close  of  words  may  some- 
times take  the  place  of  vowels  and  form  the  basis  of  syllables ; 
e.g.  troiiblie),  fir{e),  feebl{e).  But  it  is  a  grievous  fault  to  make 
syllables  of  these  same  consonants  in  such  words  as  slew 
[su-leza),  smile  {sii-mile),  snotv  {sii-notv),  spring  {spu-ring). 

A  syllable  may  contain  one  sound  or  as  many  as  seven ; 
e.g.  o-bey,  strengths. 

1.  Syllables  as  to  Etymology  and  Euphony 

In  dividing  words  into  syllables  two  special  points  must  be 
borne  in  mind,  —  (i)  Etymology  and  (2)  Euphony. 

(i)  Dividing  as  to  Etymology,  i.e.  with  reference  to  the 
derivation  of  the  word  ;  as,  sub-urbs  not  su-burbs,  re-mtmerate 
not  rem-tinerate. 

(2)  Dividing  as  to  Euphony  of  sound,  i.e.  with  reference  to 
smoothness  of  utterance  ;  as,  rc-ligion  not  rel-igion,  loftg-est  not 
lon-gesi. 

2.  Syllables  as  to  Number 

According  to  the  number  of  its  syllables  a  word  is  called  : 
(i)  a  Monosyllable  —  a  word  of  one  syllable, 

(2)  a  Dissyllable  —  a  word  of  two  syllables, 

(3)  a  Trissyllable  —  a  word  of  three  syllables,  or 

(4)  a  Polysyllable  —  a  word  of  more  than  three,  or  many 
syllables. 


28  ESSENTIALS   OF   PUBLIC  SPEAKING 

3.  Syllables  as  to  Position 

According  to  its  position  in  a  word  a  syllable  is  called  : 
(i)  the  Ultima  when  it  is  the  last  syllable,  as  (xt-morse), 

(2)  the  Penult  when  the  last  but  one,  as  (77^-or), 

(3)  the  Antepenult  when  the  last  but  two,  as  {beau-\.\ivi\),  or 

(4)  the  Preantepenult  when  the  last  but  three,  as  {sj)ir-\tvi3\). 

4.  Time  Value  of  Syllables 

Time  Value  is  the  intrinsic  quantity  or  length  given  to 
syllables.  There  are  three  classes,  according  to  the  sounds  that 
compose  them,  —  (i)  Immutable,  (2)  Mutable,  and  (3)  Indefi- 
nite. 

(i)  Immutable  Syllables  are  those  that  cannot  be  prolonged 
to  advantage.  They  are  unchangeably  short.  Any  attempt  to 
prolong  them  will  produce  a  drawl.  Such  syllables  are  com- 
posed wholly  of  stopt  sounds ;  e.g.  back,  bit,  check,  stop. 

(2)  Mutable  Syllables  are  such  as  are  variable  in  quantity. 
They  are  composed  of  an  intermingling  of  stopt  and  continu- 
ant sounds,  the  capacity  for  prolongation  being  dependent 
upon  the  number  of  continuants.  They  may  be  prolonged 
moderately  or  pronounced  short  in  expression ;  e.g.  rate, 
make,  bleed,  board. 

(3)  Indefinite  Syllables  are  such  as  may  be  prolonged  to  the 
fullest  extent  of  quantity.  Although  intrinsically  long  they 
may  be  pronounced  quickly  in  expression.  Such  syllables  are 
composed  wholly  of  continuant  sounds  ;  e.g.  roll,  arm,  all, 
roar. 

SECTION  IV.    ACCENTUATION 

Accent  is  the  special  weight  put  upon  one  syllable  of  a  word 
to  distinguish  it  from  the  rest. 

Accent  is  to  a  word  what  emphasis  is  to  a  phrase  or  a 
clause. 


ACCENTUATION  29 

A  strong  accent  is  one  of  the  distinguishing  features  of  the 
English  language  and  one  of  its  chief  elements  of  power.  It  is 
a  source  of  variety,  an  element  of  rhythm,  and  a  leading  factor 
in  versification. 

I.  Kinds  of  Accent 

There  are  three  kinds  of  accent  with  respect  to  their  weight 
or  importance,  —  the  Prwia?-y,  the  Secondary,  and  the  Tertiary. 

(i)  The  Primary  (')  is  the  strongest  of  the  accents,  and  is 
to  be  found  in  all  words  of  more  than  one  syllable ;  e.g. 
7aom'ar\,  reduce'. 

(2)  The  Secondary  (")  is  an  accent  of  lighter  weight,  used 
in  connection  with  the  primary,  and  on  some  other  than  the 
principal  syllable.  It  is  used  when  there  are  more  syllables 
than  can  be  pronounced  without  this  extra  support  of  voice  ; 
e.g.  m"desfruet'ih\e,  ad"dimant'\\\Q,  <7;/"tede///?''ian. 

(3)  The  Tertiary  ('")  is  the  lightest  of  the  accents,  and  is 
used  only  in  connection  with  the  others  in  certain  very  long 
words,  its  use  being  the  same  as  that  of  the  secondary  accent, 
namely,  to  relieve  the  ear  and  support  the  voice  ;  e.g.  /«"'de- 
sfrue"tUn7'\ty,  meom"'pTe/ien"sU>i/'ity. 

2.  Variation  of  Accent 

Variation  of  accent  in  English  serves  : 

(i)  To  show  contrast  between  words  of  similar  form  when 
placed  in  opposition  ;  e.g.  "  Shall  we  ascend?  "  "  No,  let  us 
descend."    "This  is  des/zv/r/ible,  that  ///destructible." 

(2)  To  distinguish  parts  of  speech. 

a.  Between  a  noun  and  a  verb ;  e.g.  contrast,  contrast ; 
progress,  ])r ogress. 

b.  Between  an  adjective  and  a  verb;  e.g.  periect,  "perfect; 
_/>rquent,  irequent. 

c.  Between  a  noun  and  an  adjective;  e.g.  com\)<ict,  compact ; 
minute,  xnmi/te. 


30  ESSENTIALS   OF    PUBLIC   SPEAKING 

(3)  To  satisfy  meter. 

Poets  sometimes  change  accent  to  meet  the  requirements 
of  verse  ;  e.g. 

That  thou,  dead  corse,  again  in  ^^w-plete  steel.  — Shakespeare. 
As  hardy  as  the  iVi?-mean  lion's  nerve. — Ibid. 
Great  Birnam  wood  to  high  Dun-jv>/-ane  hill. 

Till  Birnam  forest  come  to  Z?//;/-sinane. — Ibid. 

The  bride  had  consented,  —  the  ,fa/-lant  came  late.  —  Scott. 

(4)  For  dialect  reading. 

The  broken  English  of  a  Frenchman,  for  example,  would  be 
accented  somewhat  as  follows  : 

Ah,  gen\jt&\inen.,  you  come  wis  us.  I  show  you  beauixfiil,  O, 
m?ignif\cent  bust  Christopher  Colombo,  s,^\&ndid,  grand,  mag;///i- 
cent  .  .  .  beaut'i/id  bust,  beatni/it/ pedistal  .  .  .  Discover  America, 
discover  Awenca,  O,  ze  dev//.  —  J/ark  Twain. 

SECTION  V.    EXERCISES  IN  PRONUNCIATION 

The  student  should  consult  a  standard  dictionary,  mark  the 
following  words  diacritically,  and  then  pronounce  them  repeat- 
edly with  distinctness  and  accuracy  : 

Abject,  acclimate,  acumen,  address,  adept,  aeronaut,  afflatus, 
albumen,  allopathy,  alternately,  amenable,  amenity,  anchovy,  ant- 
arctic, area,  asphalt,  assets,  athlete,  aversion,  awry,  banquet,  bes- 
tial, betroth,  biography,  blouse,  bouquet,  bravado,  brigand,  broom, 
burlesque,  chasten,  chastisement,  clangor,  clematis,  clique,  com- 
peer, communist,  cognomen,  condolence,  contumely,  consummate, 
coterie,  cyclamen,  decadence,  demolition,  demoniacal,  desperado, 
desuetude,  deficit,  disputant,  divan,  dolorous,  donkey,  dramatist, 
edile,  equipoise,  esplanade,  exponent,  explicable,  exquisite,  facet, 
fetish,  fief,  flageolet,  fulsome,  gaunt,  granary,  grimace,  gratis, 
halibut,  harass,  hirsute,  hypocrisy,  homeopathic,  ignoramus,  im- 
placable, indicatory,  industry,  indissoluble,  indisputable,  interest- 
ing,  intrigue,  integral,    inquiries,   inexplicable,  jocund,  juvenile, 


EXERCISES   IN   PRONUNCIATION  31 

lamentable,  lithography,  longevity,  lyrist,  lyceum,  magazine,  Ma- 
lay, n'lediocre,  mischievous,  millionaire,  misconstrue,  misanthrope, 
monad,  molecule,  museum,  mustache,  naked,  nasal,  nectarine, 
nepotism,  nescience,  nuptial,  obligatory,  oligarchy,  obsolete,  oc- 
cult, onerous,  orotund,  opponent,  ordeal,  overt,  overseer,  oxalic, 
organization,  palmistry,  parliament,  pastel,  paresis,  pedagogue, 
pedagogy,  pedagogical,  persistent,  peremptorj-,  picturesque,  quees- 
tor,  quay,  quoit,  quote,  rapacious,  recess,  requiem,  resource,  re- 
search, revolution,  ribald,  rinse,  romance,  sagacious,  salmon, 
sedative,  seine,  sinecure,  spoliation,  spontaneity,  squalor,  suffice, 
suit,  swaths,  syringe,  telegraphy,  thews,  thither,  thought,  tonsil- 
itis,  treble,  tremendous,  tribune,  truths,  tune,  tympanum,  ubiquity, 
ultimatum,  umpirage,  ursuline,  usurer,  uxoricide,  vagary,  vapid, 
vehement,  verbose,  viceroy,  virago,  virulent,  vituperative,  volumi- 
nous, wherefore,  with,  woman,  wroth,  xylophone,  youths,  yolk, 
zither.  Zouave. 


CHAPTER  IV 

EMPHASIS 

Emphasis  is  the  special  prominence  given  to  words  or 
phrases  in  relation  to  other  parts  of  the  sentence.  It  is  to  a 
clause  or  phrase  what  accent  is  to  a  word,  and,  when  properly 
given,  discloses  the  exact  meaning  intended.  It  teaches  one 
discrimination  and  perspective,  —  to  pass  lightly  over  the  unim- 
portant and  give  weight  to  the  important  parts. 

The  significance  of  Emphasis  is  mental,  emotive,  or  vital  in 
response  to  the  intellect,  the  feelings,  or  the  physical  activities. 
This  special  prominence  given  to  ideas  is  reached  through 
the  elements  of  vocal  expression  and  action,  and  responds 
sympathetically  to  the  demands  of  the  three  natures  of  man. 
Accordingly  we  have  named  th^  kinds  of  Emphasis  as  follows  : 
(i)  Emphasis  of  Sense,  (2)  Emphasis  of  Emotion,  and  (3) 
Emphasis  of  Pulsation.    When  these  divisions  are  classified  as 


32  ESSENTIALS   OF   PUBLIC   SPEAKING 

to  their  relation  to  the  threefold  nature  of  man  we  have  the 
following  diagram  : 

['Sense Mental    1 

Emphasis  -l  Emotion Emotive  I  Man 

[Pulsation Vital       J 

SECTION  I.    SENSE 

Emphasis  of  Sense  is  mental  in  nature  and  appeals  to  the 
intellect.  It  explains  and  intensifies  the  meaning  of  the  pas- 
sage without  addressing  the  feelings.  It  is  objective  in  charac- 
ter and  shows  the  comparative  strength  of  words  in  relation 
to  the  contextj^^-- 

Any  word  may  become  emphatic  under  certain  conditions, 
but  as  a  class,  nouns,  verbs,  adjectives,  and  pronouns  receive 
most  emphasis ;  prepositions,  conjunctions,  and  the  article 
rarely  receive  emphasis. 

Law  of  use : 

When  a  word  introduces  or  becomes  an  if}iportant  part  of  a 
new  idea  it  is  emphatic. 

This  law  implies  that  when  ideas  have  been  expressed,  or  pre- 
supposed, ivords  reintroducing  them,  except  for  the  purpose  of 
emphasis,  arc  subordinated.  This  subordination  is  accomplished 
by  passing  easily  and  quickly  over  parts  already  brought  out  or 
taken  for  granted. 

Sentences  illustrating : 

Let  me  have  a  country,  or  at  least  the  hope  of  a  country,  and 
that  a  free  country.  —  IVebster. 

This  question  is  larger  than  a  party  question.  It  is  an  American 
question.    It  is  a  world  question.  —  Beveridge. 

At  the  proudest  blood  in  Europe,  the  Spaniard,  ...  at  the  most 
warlike  blood  in  Europe,  the  French,  ...  at  the  pluckiest  blood 
in  Europe,  the  English.  —  Phillips. 

The  Divisions  of  Sense  Emphasis  are  (i)  Absolute,  (2)  An- 
tithetic, (3)  Cumulative,  and  (4)  Distributive. 


SENSE 


33 


1.  Absolute  Emphasis  occurs  upon  the  keywords  of  the 
sentence.  These  are  the  thought  words  which  designate  or 
particularize  new  ideas.  In  writing  a  telegram  one  uses  thought 
words  and  only  such  connectives  as  are  absolutely  necessary  for 
clearness.  If  we  pronounce  aloud  the  underscored  keywords 
of  the  following  sentences,  without  uttering  the  connecting 
particles,  we  will  have  a  good  understanding  of  the  meaning 
to  be  conveyed  : 

The  King  was  confined  in  the  palace  of  St.  James,  but  the 
place  selected  for  the  scaffold  was  the  street  before  the  palace  of 
Whitehall.  —  Goldsmith. 

Now,  blue-eyed  Saxon,  proud  of  your  race,  go  back  with  me  to 
the  commencement  of  the  century  and  select  what  statesman  you 
please.  —  PJiillips. 

2.  In  Antithetic  Emphasis  the  new  ideas  are  brought  out  by 
special  weight  on  the  terms  contrasted.  There  are  two  divi- 
sions, (i)  Expressed  Antithesis,  and  (2)  Implied  Antithesis. 

(i)  In  Expressed  Antithesis  all  the  terms  of  the  contrast 
appear  in  the  sentence.  There  may  be  one,  two,  three,  and 
even  four  terms  in  each  phrase  or  clause  of  the  contrast.  To 
illustrate  : 

Let  us  be  sacrificers,  but  not  butchers. Shakespeare. 

Do  men  gather  grapes  of  thorns,  or  figs  of  thistles  1  —  Bible. 

Kings  will  be  tyrants  from  policy,  when  subjects  are  rebels 
from  principle.  —  Burke. 

The  wounds  of  a  sincere  friend  are  faithful ;  the  kisses  of  a 
scheming  foe  are  deceitful. — -Anonymous. 

(2)  In  Implied  Antithesis  only  one  part  of  the  contrast  is 
expressed ;  the  opposing  terms  must  be  mentally  supplied. 
This  form  of  emphasis  is  extremely  effective  because  of  the 
stimulation  given  the  hearer  to  supply  the  contrast.  To  illus- 
trate : 

"  Roosevelt  favored  the  policy  of  reciprocity  "  The  part  to  be 
supplied  is  did  not  oppose.    If  the  emphasis  had  been  placed  on 


34 


ESSENTIALS   OF   PUBLIC  SPEAKING 


the  word  reciprocity,  the  implied  antithesis  would  have  been  not 
the  policy  ofexclusiveness.  If  the  word  Roosevelt  had  been  empha- 
sized, the  part  implied  would  have  been  as  did  others. 

"  We  all  stand  up  against  the  spirit  of  Caesar."  The  idea  im- 
plied is  not  against  his  person. 

"  I  should  like  to  speak  with  the  gentleman  of  the  firm."  This 
was  addressed  to  one  member  of  a  firm  of  two  lawyers.  The  im- 
plication is  plain,  —  that  the  man  addressed  was  not  a  goitlcinan. 

3.  Cumulative  Emphasis  is  employed  to  bring  out  a  climax. 
When  the  members  of  a  series  or  climax  rise  in  gradation, 
each  stronger  than  the  preceding  one,  progressive  energy 
should  be  applied  until  the  climax  is  reached.  When  judi- 
ciously used  this  emphasis  is  very  effective  in  argument  and 
appeal.    To  illustrate  : 

There  is  Boston  and  Concord  and  Lexington  and  Bunker  Hill, 
and  there  they  will  remain  forever. —  Webster. 

You  blocks,  you  stones,  you  worse  than  senseless  things. 

—  Shakespeare. 
Pluck  down  benches,  pluck  down  forms,  windows,  anything. 

—  Shakespeare. 

4.  In  Distributive  Emphasis  the  meaning  is  brought  out  by 
spreading  the  energy  over  an  emphatic  group  of  words.  The 
other  forms  of  Emphasis  are  generally  confined  to  single  words 
in  the  sentence  ;  but  occasionally  two  or  more  words  of  equal 
importance  come  together  making  an  emphatic  group,  in 
which  case  the  idea  is  enforced  by  placing  the  emphasis  on  all 
the  words  of  this  emphatic  group.  This  is  called  Distributive 
Emphasis,  and  may  be  illustrated  thus  : 

America  has  been  a  great  world-power  for  years.  — Jcfferso7i. 

Man  dies  and  goes  to  his  long  home.  —  Anonytfions. 

Give  him  orders  to  hang  all  traitors.  —  Anonymous. 

Here  is  the  will,  and  under  Ca;sar's  seal : 

To  every  Roman  citizen  he  gives, 

To  every  several  man,  seventy-five  drachmas.  —  SJiakctpeare. 


EMPHASIS   OF  EMOTION  35 

In  order  to  determine  the  proper  place  of  emphasis  in  a 
sentence  one  should  ask  what  the  central  idea  is,  and  what 
words  one  can  least  afford  to  dispense  with.  Instead  of  be- 
ginning to  declaim  it,  think  how  one  would  say  the  sentence 
colloquially  to  a  friend.  Another  effective  way  of  finding  the 
emphasis  is  by  changing  the  words  about  in  the  sentence  or 
by  paraphrasing  it.  One  thus  ascertains  the  purpose  of  the 
sentence  before  giving  expression  to  it. 

A  grievous  fault  to  guard  against  is  excessive  emphasis, 
which  defeats  its  own  purpose  by  particularizing  too  much. 
When  one  tries  to  make  everything  emphatic  nothing  is  em- 
phatic. It  is  like  excess  of  color,  —  there  is  no  light  and 
shade,  no  perspective.  It  becomes  bombastic  mouthing,  —  a 
strained,  overdone  style  ;  for 

"None  emphatic  can  that  speaker  call, 
Who  lays  an  equal  emphasis  on  all." 

SECTION  II.    EMPHASIS  OF  EMOTION 

Emphasis  of  Emotion  addresses  itself  to  the  feelings  and  the 
will.  While  it  carries  with  it  the  sense  of  the  passage,  it  is. not 
always  applied  to  the  sense  words.  The  emotional  words  re- 
ceive the  chief  emphasis.  •  For  example,  in  the  sentence,  "  Must 
I  endure  all  this?"  the  chief  sense  word  is  endure,  and  the 
chief  emotional  word  is  Jtiiist.  While  both  are  strong,  the 
emotional  word  takes  precedence. 

In  the  following  sentences  the  emotional  words  are  under- 
scored and  the  sense  words  italicized  : 

Have  you  not  love  enough  to  bear^\W\  me?  —  Shakespeare. 

Portia,  art  thou  gone  ?  —  Shakespea?'e. 

What  a  bhi7it  fellow  is  this  grown  to  be  !  —  Shakespeare. 

That  it  should  co/zie  to  this !  .  .  .  Let  me  not  think  on  it ! 

—  Shakespeare. 

Emphasis  of  emotion  is  a  law  unto  itself  and  varies  with 
individuals  and  with  varying  moods. 


36  ESSENTIALS   OF   PUBLIC   SPEAKING 

SECTION  III.    EMPHASIS  OF  PULSATION 

Emphasis  of  Pulsation,  or  Pulsative  Emphasis,  is  that  by 
which  a  word  or  emotion  is  enforced  by  some  bodily  impulse 
or  action.  The  law  of  pulsation  is  inherent  in  the  physical 
organism.  It  manifests  itself  in  the  beating  of  the  heart,  in 
respiration,  in  walking,  in  running,  and  in  all  the  activities  of 
the  muscular  system ;  hence  it  represents  the  vital  nature.  Its 
expressive  character  may  be  seen  in  the  glance  of  the  eye,  the 
nod  of  the  head,  the  gesture  of  the  hand,  the  stamp  of  the 
foot,  and  the  physical  act  of  the  vocal  organs  in  the  light  and 
hea\7  syllables  of  rhythmical  language.    To  illustrate  : 

My  answer  would  be  a  blow.  —  Grattan. 

Inhuman  wretch,  take  that,  and  that,  and  that.  —  Anony7nous. 

Methinks  I  see  him  stamp  thus,  and  call  thus,  "Come  on,  you 
cowards  !  "  —  Shakespeare. 

That  you,  at  such  times  seeing  me,  never  shall,  with  arms 
encumbered  thus,  or  this  head-shake  .  .  .  note  that  you  know 
aught  of  me. Shakespeare. 

The  following  are  illustrations  of  the  regular  recurrence  of 
pulsations  in  the  rhythm  of  poetry  : 

Her  children,  hid  the  cliffs  amid, 

Are  gambolling  with  the  gambolling  kid, 

Or  down  the  walls,  with  tipsy  calls. 

Laugh  on  the  rocks  like  waterfalls.  —  Read. 

Come  and  trip  it  as  you  go 

On  the  light  fantastic  toe.  —  Milfoil. 

It  should  be  borne  in  mind  that  action  of  some  kind  may 
accompany  any  of  the  forms  of  Kmphasis.  But  luiiphasis  and 
expression  by  means  of  action  will  be  discussed  fully  in  Part  III. 

Selections  illustrating  Emphasis  : 

Note.  In  the  following  selection  let  the  student  seek  out  and  un- 
derscore the  strongly  emphatic  words ;  then  read  the  selection  aloud, 
tripping  easily  and  freely  over  unemphatic  words  and  phrases. 


EMPHASIS   OF   PULSATION  37 

THE   NATIONAL  FLAG 
Hf.xkv  Ward  Befxher 

A  thoughtful  mind,  when  it  sees  a  nation's  flag,  sees  not  the 
flag,  but  the  nation  itself.  When  the  French  tricolor  rolls  out  to  the 
wind,  we  see  France.  When  the  new-found  Italian  flag  is  unfurled, 
we  see  unified  Italy.  When  the  united  crosses  of  St.  Andrew 
and  St.  George,  on  a  fiery  ground,  set  forth  the  banner  of  old  Eng- 
land, we  see  not  the  cloth  merely  ;  there  rises  up  before  the  mind 
the  idea  of  that  great  monarchy. 

This  nation  has  a  banner,  too;  and  wherever  this  flag  comes,  and 
men  behold  it,  they  see  in  its  sacred  emblazonry  no  ramping  lion 
and  no  fierce  eagle,  no  embattled  castles  or  insignia  of  imperial 
authority;  they  see  the  s}Tnbols  of  light.  It  is  the  banner  of  dawn. 
It  means  liberty;  and  the  galley  slave,  the  poor,  oppressed  conscript, 
the  trodden-down  creature  of  foreign  despotism,  sees  in  the  Amer- 
ican flag  the  very  promise  of  God. 

If  one,  then,  asks  me  the  meaning  of  our  flag,  I  say  to  him  :  It 
means  just  what  Concord  and  Lexington  meant,  what  Bunker  Hill 
meant.  It  means  the  whole  glorious  Revolutionary  War.  It  means 
all  that  the  Declaration  of  Independence  meant.  It  means  all  that 
the  Constitution  of  our  people,  organizing  for  justice,  for  liberty, 
and  for  happiness,  meant. 

Our  flag  carries  American  ideas,  American  history,  and  Amer- 
ican feelings.  Beginning  with  the  colonies,  and  coming  down  to 
our  time,  in  its  sacred  heraldry,  in  its  glorious  insignia,  it  has  gath- 
ered and  stored  chiefly  this  supreme  idea :  divine  right  of  liberty 
in  man.  Every  color  means  libert}' ;  every  thread  means  liberty  ; 
every  form  of  star  and  beam  or  stripe  of  light  means  liberty  —  not 
lawlessness,  not  license,  but  organized,  institutional  liberty  —  liberty 
through  law,  and  laws  for  liberty  ! 

This  American  flag  was  the  safeguard  of  liberty.  Not  an  atom 
of  crown  was  allowed  to  go  into  its  insignia.  Not  a  symbol  of 
authority  in  the  ruler  was  permitted  to  go  into  it.  It  was  an  ordinance 
of  liberty  by  the  people  for  the  people.  That  it  meant,  that  it 
means,  and,  by  the  blessing  of  God,  that  it  shall  mean  to  the  end 
of  time  1 


51176 


38  ESSENTIALS   OF   PUBLIC   SPEAKING 

Under  this  banner  rode  Washington  and  his  armies.  Before  it 
Burgoyne  laid  down  his  arms.  It  waved  on  the  highlands  at  West 
Point.  When  Arnold  would  have  surrendered  these  valuable  for- 
tresses and  precious  legacies,  his  night  was  turned  into  day  and 
his  treachery  was  driven  away  by  the  beams  of  light  from  this 
starry  banner. 

It  cheered  our  army,  driven  out  from  around  New  York,  and  in 
their  painful  pilgrimages  through  New  Jersey.  In  New  Jersey, 
more  than  in  almost  every  other  state,  grows  the  trailing  arbutus. 
May  I  not  think  it  is  sacred  drops  of  Pilgrim  blood  that  come  forth 
in  beauteous  flowers  on  this  sandiest  of  soils  ?  For  this  sweet  blos- 
som that  lays  its  cheek  on  the  very  snow  is  the  true  Pilgrim's  May- 
flower!  This  banner  streamed  in  light  over  the  soldiers' heads  at 
Valley  Forge  and  at  Morristown.  It  crossed  the  waters  rolling  with 
ice  at  Trenton,  and  when  its  stars  gleamed  in  the  cold  morning 
with  victory,  a  new  day  of  hope  dawned  on  the  despondency  of  this 
nation. 

Our  states  grew  up  under  it.  And  when  our  ships  began  to  swarm 
upon  the  ocean  to  carry  forth  our  commerce,  and  Great  Britain 
arrogantly  demanded  the  right  to  intrude  her  search  warrants  upon 
American  decks,  then  up  went  the  lightning  flag,  and  every  star 
meant  liberty  and  every  stripe  streamed  defiance.  The  gallant  fleet 
of  Lake  Erie  —  have  you  forgotten  it  ?  The  thunders  that  echoed 
to  either  shore  were  overshadowed  by  this  broad  ensign  of  our 
American  liberty.  Those  glorious  men  that  went  forth  in  the  old 
ship  Constitution  carried  this  banner  to  battle  and  to  victory.  The 
old  ship  is  alive  yet.  Bless  the  name,  bless  the  ship,  bless  her  historic 
memory,  and  bless  the  old  flag  that  waves  over  her  3'et ! 

How  glorious,  then,  has  been  its  origin  !  How  glorious  has  been 
its  history  !  How  divine  is  its  meaning !  Accept  it  in  all  its  fullness 
of  meaning.  It  is  not  a  painted  rag.  It  is  a  whole  national  history. 
It  is  the  Constitution.  It  is  the  government;  and  for  the  sake  of 
its  ideas  rather  than  its  mere  emblazonry,  be  true  to  your  country's 
flag. 

Note.  In  trie  selection  which  follows  the  rhythmical  impulses  of 
Pulsative  Emphasis  are  especially  illustrated. 


EMPHASIS   OF   PULSATION 


39 


THE   LAST   LEAF 
Oliver  Wendell  Holmes 


I  saw  him  once  before, 
As  he. passed  by  the  door; 

And  again 
The  pavement-stones  resound 
As  he  totters  o'er  the  ground 

With  his  cane. 

They  say  that  in  his  prime, 
Ere  the  pruning-knife  of  time 

Cut  him  down, 
Not  a  better  man  v.-as  found 
By  the  crier  on  his  round 

Through  the  town. 

But  now  he  walks  the  streets, 
And  he  looks  at  all  he  meets 

So  forlorn  ; 
And  he  shakes  his  feeble  head, 
That  it  seems  as  if  he  said, 

"They  are  gone." 

The  mossy  marbles  rest 

On  the  lips  that  he  has  press'd 

In  their  bloom  ; 
And  the  names  he  loved  to  hear 
Have  been  carved  for  many  a  year 

On  the  tomb. 


My  grandmamma  has  said  — 
Poor  old  lady  1  she  is  dead 

Long  ago  — 
That  he  had  a  Roman  nose, 
And  his  cheek  was  like  a  rose 

In  the  snow. 

But  now  his  nose  is  thin. 
And  it  rests  upon  his  chin 

Like  a  staff ; 
And  a  crook  is  in  his  back. 
And  a  melancholy  crack 

In  his  laugh. 

I  know  it  is  a  sin 
For  me  to  sit  and  grin 

At  him  here ; 
But  the  old  three-corner'd  hat 
And  the  breeches,  and  all  that. 

Are  so  queer ! 

And  if  I  should  live  to  be 
The  last  leaf  upon  the  tree 

In  the  spring, 
Let  them  smile,  as  I  do  now. 
At  the  old  forsaken  bough 

Where  I  cling. 


PART   II 

THE   ELEMENTS   OF  VOCAL 
EXPRESSION 

"An  Element,"  says  Webster,  "is  one  of  the  essential  parts 
or  principles  upon  which  the  fundamental  powers  of  anything 
are  based."  The  notes  of  the  song  bird  and  the  roar  of  the 
mountain  storm,  so  different  in  significance,  accord  with  na- 
ture's elements  of  expression.  These  elements  are  as  old  as 
nature  itself.  The  principles  of  man's  vocal  art  are  no  less 
traceable  to  nature,  —  the  original  source  from  which  we  must 
draw  our  knowledge  of  applied  elocution.  All  the  elements  of 
elocution  herein  set  forth  are  heard  in  the  sounds  of  nature, 
and  we  must  learn  to  use  them  correctly  if  we  would  be  natural 
in  public  speech.  Furthermore,  there  is  a  close  relation  be- 
tween these  elements  and  the  triune  nature  of  man  previously 
discussed  (Part  I,  p.  4),  so  that  each  element  has  its  foundation 
in  our  inward  consciousness  as  well  as  in  the  external  realms  of 
nature. 

There  are  four  fundamental  vocal  elements,  —  (i)  Time, 
(2)  Quality,  (3)  Force,  and  (4)  Pitch.  .J^riefly  defined.  Time  is 
the  duration  of  utterance  ;  Quality  is  the  kind  of  sound  ;  Force 
is  the  power  with  which  sound  is  emitted  ;  and  Pitch  is  the 
elevation  or  depression  of  the  notes  on  the  scale.  These  are 
essential  to  all  utterance,  since  no  sound  can  be  made  that  does 
not  embody  all  of  them,  while  in  their  various  modifications 
and  combinations  every  shade  of  expression  can  be  traced. 

As  a  tabular  view  of  all  the  vocal  elenients  and  their  triune 
relation,  and  for  use  as  a  reference  page  as  each  element  is 
discussed,  we  subjoin  the  following  diagram  : 

40 


VOCAL  ELEMENTS 


41 


Pause Rhetorical Mental 


/time < 

(Vital) 


Quantit)'. 


.1  ]\Iedium.1~l-----i»Emotive. 
Short,---—"' 


--^.MAN 


(Rapid.,,  /  , 

-{  Moderate1rirr=>Vital.--7' 
Slow. 


QUALITY- 
(Emotive) 


I  Normal 

\  Orotund 

I  Oral ~_~ 

Nasal ^1" 

■  Falsetto,-- 
j  Guttural  <;' 

/Pectoral 

I  Aspirate--- 


^.MentaL__ 
Uj/ital 


:i-^=„MAN 


.Emotive. 


Effusive Emotive^ 

Expulsive Mental, 

Explosive Vital,    "" 

I  Subdued. __ 

l\Ioderate.II-r  =  A^ital 

'  Energetic--''' 


--;e>MAN 


.Mental-- 


Stress 

(INIental) 


Degree  — 
(Emotive) 


'Radical 

I  Compound--"- 

'  Median -y^Emotive.- 

Final,,-,- -  '  "  ^- 

'  Thorougnr:rrr=,VitaL'' 
^Intermittent--' 

['High,,,^ 

I  Middle. ___""-"■-- r^aEmotive 
Low.—  --'"" 


PITCH—./ 

UMentall 


Change... 
(Mental) 


Inflections- 
(Mental) 


Waves-- 
(Vital) 


Intervals  — 
(Emotive) 


Current- 


Melody— 
(Vital) 


Cadence- 


-{SSi:::^3Iental,^ 

/Single         )  \ 

Double       /  Vital  ^      \ 

I  Continued )  ^^^^     \ 

_<'  Equal         )  ^^.  \ 

j  Unequal     }  E'"°"^"^-Iv,m4N 
/  Direct  ,  ^,         ,      ,,->MAl>l 

[  Inverted     j  denial-'    y 

{Semitones,  _        .     /" 
Seconds.--'Emot.ve> 
Thirds.. -V-^Mental/ 
Fifths.-.'-''  ,^.    ,  / 
Octaves----- yital' 

fGiromatic— Emotive^ 
Diatonic Mental,  \ 
Broken .Vital.,  ""-o 
■"~--%MAN 
(Monad 
1  Duad,  ~'V 
-<Triad„1V^>Vital'' 
]  Tetrad--;-' ' 
I  Pentad^' 


42  ESSENTIALS   OF  PUBLIC  SPEAKING 

CHAPTER  V 

TIME 

Time  is  the  duration  of  utterance.  It  relates  to  the  length 
of  vocal  sounds,  syllables  and  words,  the  rests  which  occur  be- 
tween them,  and  the  rate  with  which  they  are  uttered.^.  Its  sub- 
divisions are  (i)  Pause,  (2)  Quantity,  and  (3)  Movemeiit.  The 
relation  of  these  divisions  to  the  triune  nature  is  as  follows  : 

r  Pause Mental   ^ 

Time  <  Quantity  ....     Emotive  y  Man 
Movement     .     .     .     Vital       j 

SECTION  I.    PAUSE 

Pause  is  the  time  spent  between  syllables,  words,  or  groups 
of  words  in  utterance.  Pause  does  not  always  imply  a  complete 
stoppage  of  sound ;  the  euphony  of  language  often  requires  a 
gentle  flow  of  sound  between  words  mentally  separated ;  e.g. 
"Return  to  thy  dwelling,  all  lonely  return."  Nor  is  the  length 
of  a  Pause  absolute  ;  it  is  relative,  dependent  upon  the  senti- 
ments to  be  expressed,  and  must  be  governed  by  the  individual 
taste  and  judgment  of  the  speaker.  He  who  pauses  by  the 
stop  watch  or  the  counting  method  of  a  half  century  ago  will, 
of  course,  read  in  a  mechanical,  unnatural  way;  but  the  places 
for  rhetorical  Pauses  are  inherent  in  the  langtiage  itself  and 
may  be  definitely  stated  and  observed  without  the  slightest  loss 
of  individuality  on  the  part  of  the  speaker. 

1.  The  Physical  Necessity  for  Pauses  is  evident,  since  they 
afford  the  reader  or  speaker  the  opportunity  to  take  breath  with- 
out breaking  his  sentences  at  improper  intervals. 

2.  The  Mental  Necessity  for  Pauses  arises  out  of  the  construc- 
tion of  language.  A  word  is  "the  sign  of  a  conception  or  idea.  " 
A  single  word  or  a  group  of  words  is  necessary  to  the  expression 
of  a  complete  idea.    The  mind  comprehends  ideas  only  as  they 


PAUSE  43 

are  presented  singly  and  separately,  no  matter  how  rapidly  they 
may  be  given.  Hence  this  process  of  expression  which  groups 
words  according  to  their  ideas,  making  them  clear  to  the  under- 
standing, represents  the  Mental  nature  of  man. 

Th€  necessity  for  grammatical  Pauses  which  convey  the 
thought  of  the  page  to  the  eye  of  the  reader  is  fully  under- 
stood, and  they  are  indicated  by  a  well-established  system  of 
punctuation  marks  ;  were  these  sufficient  for  the  oral  reader  or 
speaker,  our  treatment  of  this  subject  would  end  here.  But 
there  are  many  more  rhetorical  than  grammatical  Pauses,  and 
often  the  necessities  of  speech  require  no  cessation  of  utter- 
ance where  grammatical  Pauses  would  be  placed ;  for  example, 
the  following  sentence  punctuated  grammatically  by  the  usual 
marks,  and  rhetorically  by  rests,  shows  one  of  the  former  (the 
semicolon)  and  at  least  four  of  the  latter. 

Shakespeare's  attitude  toward  human  life  "^  will  become  again 
attainable  to  us  *1  only  when  intelligent  people  *1  can  return  to  an 
agreement  on  first  principles ;  *"  when  the  common  sense  of  the  wisest 
and  best  among  us  *i  has  superseded  the  theorizing  of  parties  and 
factions.  —  Froude. 

In  the  following  the  rhetorical  Pause  comes  before  "that" 
instead  of  after  it,  as  indicated  by  the  grammatical  punctuation  : 

When  the  child  went  to  his  solitary  bed,  he  dreamed  about  the 
star ;  and  dreamed  "1  that,  lying  where  he  was  he  saw  a  train  of 
people  taken  up  that  sparkling  road  by  angels.  —  Dickens. 

Again  the  sense  is  often  obscured  or  the  meaning  changed 
by  the  want  of  a  rhetorical  Pause  or  a  misplacing  of  it.  An 
omission  of  the  Pause  before  the  word  "like"  in  the  second  line 
of  the  following  would  give  a  meaning  quite  opposite  to  that 
intended  : 

And  I  wonder  why  I  do  not  care   . 

For  the  things  that  are  *1  like  the  things  that  were; 
Does  half  my  heart  lie  buried  there 

In  Texas  down  by  the  Rio  Grande.?  —  Desprez. 


44  ESSENTIALS   OF   PUBLIC   SPEAKING 

On  the  other  hand,  the  rhetorical  Pause  usually  includes  the 
grammatical,  and  often  the  two  agree  throughout  an  entire  sen- 
tence, as  in  the  following  : 

At  the  dawn  of  civilization,  1  when  men  began  to  observe 
and  think,  1  they  found  themselves  in  possession  of  various  facul- 
ties, —  *1  first  their  five  senses,  *1  and  then  imagination,  *1  fancy, 
*1  reason  and  memory.  —  Fronde. 

3.  Law  of  use. 

To  meet  all  cases  we  may  here  lay  down  the  fundamental 
law  for  the  use  of  Pauses  :  Words  necessary  to  convey  each  idea 
of  a  sentence  tniist  be  grouped  together  and  separated  fro?n 
adjacent  groups  by  Pauses. 

But  this  general  law  which  underlies  all  further  directions  is 
not  suihciently  specific  for  the  younger  student  of  elocution,  to 
say  nothing  of  many  older  ones.  It  is,  therefore,  necessary  to 
know  the  pausing-places  revealed  by  a  closer  analysis  of  language 
construction.    Rhetorical  Pauses  should  be  used: 


(i)    Before 


(  a.  Relative  Pronouns. 

J  b.  Conjunctive  Words  (with  exception). 

I  c.  Prepositional  Phrases  (with  exception). 

1^  (/.  Infinitive  Phrases  (with  exception). 

(  a.  Words  of  a  Series. 

(2)  Between     .     .     .     .-</'.  Words  marking  an  Ellipsis. 

[  c.  Clauses. 

(  a.  Nominative  Phrases. 

(3)  After -id.  Words  or  Phrases  used  Independently. 

[  c.  Words  of  Strong  Emphasis  or  Emotion. 

["  a.  Transposed  Words  or  Phrases. 

/'.  Words  or  Phrases  used  in  Apposition. 

<:  Direct  Quotations. 

(/.  Parenthetical  Expressions. 


(4)   Before  and  After 


4.  Explanation  and  Illustrations.  Whenever  there  are  two 
connecting  words  either  of  which  would  require  a  Pause  before 
it  only,  one  Pause  is  necessary  and  it  should  l)e  jilaced  before 


PAUSE  45 

the  first  word ;  this  is  self-evident  since  the  double  influence 
of  the  two  words  would  be  thus  served,  e.g. 

He  is  a  man  *1  whom  I  have  a  great  admiration  for. 

He  is  a  man  *1  for  whom  I  have  a  great  admiration. 

Note.  Only  those  Pauses  which  iUustrate  the  particular  case  under 
consideration  are  marked  in  the  following  sentences.  When  the  entire 
list  has  been  gone  over  the  student  may  be  given  further  drill  by  mark- 
ing all  the  Pauses  of  the  illustrations. 

(i)  Before. 

a.  Before  Relative  Pronouns. 

The  relative  pronouns  who,  tv/iir/i,  what,  and  that,  in  their 
various  numbers  and  cases,  both  simple  and  compound,  always 
introduce  new  ideas  and  should  have  rhetorical  Pauses  before 
them. 

This  grave  offense  becomes  a  crime  *1  that  works  injury  to  the 
helpless  of  our  community;  we  believe  "i  whoever  committed  it 
should  be  punished  ;  we  know  *1  who  did  it  *1  and  what  it  was 
done  for;  we  suspect  1  whose  influence  brought  it  about  and  those 
*1  on  whom  the  blame  should  be  laid ;  and  we  may  here  pronounce 
the  sentence  *1  which  an  outraged  public  opinion  will  administer. 

b.  Before  Conjimctlve  Words  (with  exceptions). 
Whenever  a  conjunctive  word  implies  a  condition  or  joins 

"  disjunctively  "  it  introduces  a  new  idea  in  the  sentence  and 
therefore  takes  a  Pause  before  it ;  but  when  it  is  embodied  in 
the  idea  no  Pause  is  required.  The  rhetorical  rather  than  the 
grammatical  sense  must  determine  the  use  of  a  long  list  of 
conjunctions. 

Though  he  slay  me,  *1  yet  will  I  trust  in  him  ;  1  but  I  will 
maintain  mine  own  ways  before  him.  —  Bible. 

Jack  and  Jill  went  up  the  hill 

To  fetch  a  pail  of  water  ; 
But  Jack  fell  down  *1  and  broke  his  crown 

And  Jill  came  tumbling  after. 

—  Mother  Goose  Melodies. 


46  ESSENTIALS   OF   PUBLIC   SPEAKING 

c.  Before  Prepositional  Fh rases  (with  exceptions). 
Whenever  a  prepositional  phrase  introduces  a  new  idea,  a 

Pause  should  be  made  before  it.  In  the  following  illustration 
the  prepositions  in  and  of  in  the  italicized  clauses  are  embodied 
in  the  ideas,  while  zvith  and  froiii  introduce  new  ideas  and 
require  Pauses  before  them  : 

The  foremost  Wgtx^ivhile yet  in  mid-air^  curled  itself  up  *1  with 
a  gurgling  cry.  of  titter  pain,  *1  and  with  the  blood  gushing  1  from 
its  eyes,  ears,  and  mouth,  fell  heavily  down  dying.  —  Thompson. 

d.  Before  Itifiniiive  Phrases  (with  exceptions). 

A  Pause  should  be  observed  before  the  infinitive  except 
when  it  is  the  object  of  a  verb,  in  which  case  it  does  not  intro- 
duce a  new  idea;  e.g.  "  I  want  to  hear  her  because  she  loves 
to  talpy  If  the  sign  of  the  root  infinitive,  to,  is  omitted  by 
ellipsis,  as  in  the  last  line  of  the  following,  the  Pause  should 
not  be  omitted. 

Whether  'tis  nobler  in  the  mind  *1  to  suffer 

The  slings  and  arrows  of  outrageous  fortune,  *1 

Or  to  take  arms  against  a  sea  of  troubles, 

And  by  opposing  *1  [to]  end  them? SJiakcspeare. 

(2)  Between. 

a.  Betuieen  Words  of  a  Series. 

Pauses  should  be  made  between  a  series  of  words  of  the 
same  part  of  speech  (nouns,  verbs,  adjectives,  or  adverbs).  In 
written  or  printed  language  these  are  marked  by  the  comma 
if  the  conjunctions  are  omitted. 

These  are  the  ascending  stairs,  —  a  good  voice,  *1  winning  man- 
ners, 1  plain  speech.  — Emerson. 

We  will  be  revenged;  revenge,  '^.  about,  *1  seek,  *1  burn,  *1  fire, 
1  kill,   *1  slay,  —  let  not  a  traitor  live!  • —  ShaJcespearc. 

Clarence  is  come,  —  false,  *1  fleeting,  *1  perjured  Clarence. 

—  Slialcespeare. 

The  Stamp  Act  should  be  rciJcaled,  absolutely,  *1  totally,  *1  and 
immediately.  —  Chatham. 


PAUSE  47 

h.  Between  Words  itiarking  an  Ellipsis. 
This  applies  to  omitted  and  understood  phrases  as  well  as 
to  elliptical  words. 

To  err  is  human  ;  to  forgive,  1  divine. 

A  wise  man  seeks  to  shine  in  himself  ;  a  fool  *1  in  others. 

c.  Between  Clauses. 

This  is  self-evident,  since  each  clause  must  contain  a  sepa- 
rate idea  or  set  of  ideas. 

Berryman  Livingstone  was  a  successful  man,  *1  a  very  success- 
ful man.  It  spoke  in  every  line  of  his  clean-cut,  self-contained 
face  ;  *1  in  every  movement  of  his  erect,  trim,  well-groomed  figure ; 
*1  in  every  detail  of  his  faultless  attire  ;  *1  in  every  tone  of  his 
assured,  assertive,  incisive  speech.  —  Thomas  N'elson  Page. 

The  Philippines  became  ours,  1  ours  beyond  a  doubt,  *1  ours 
beyond  the  possibility  of  misconstruction.  — Hoivell. 

(3)  After. 

a.  After  Nomifiatii'e  Phrases. 

A  Pause  may  be  placed  after  a  single  nominative  word,  espe- 
cially when  that  word  is  a  noun  of  more  than  ordinary  im- 
portance :  e.g.,  "  Man  *1  dies ;  the  nation  *!  lives  "  ;  but  if  a 
phrase  stands  for  the  nominative  to  some  predicate  it  always 
requires  a  Pause  after  it. 

A  thing  of  beauty  *1  is  a  joy  forever.  —  Keats. 

The  proposal  to  annex  by  force,  or  purchase,  or  forcible  purchase, 
those  distant,  unwilling,  and  semi-barbarous  islands  *I  is  hailed 
as  a  new  and  glorious  departure  in  American  history. 

—  Henry  van  Dyke. 

b.  After  Words  or  Phrases  nsed  Independently. 

From  the  significance  of  the  term  this  Pause  is  self-evident. 

Room  for  the  leper!  1  Room!  *1  and  as  he  came 

The  cry  passed  on.  —  N.  P.  Willis. 

A  dream  I  had  when  life  was  new; 

Alas,  our  dreams  *1  they  come  not  true!  —  A'adaiid. 


48  ESSENTIALS   OF   PUBLIC   SPEAKING 

c.  After  Words  of  Strong  Emphasis  or  Emotio?i. 

As  a  rule  emotional  Pauses  are  longer  than  the  mere  sense 
Pauses,  but  their  varying  lengths  will  depend  upon  the  degrees 
of  emotion,  which,  as  we  have  seen,  will  be  regulated  by  the 
individuality  of  the  speaker.  Emphasis  may  even  separate  the 
syllables  of  a  strong  word,  making  what  is  sometimes  called  an 
"  Intersyllabic  "  Pause,  as  in  the  word  "  chastisement  "  below. 
Also,  in  very  strong  emotion  a  Pause  should  come  before  as 
well  as  after  the  emphatic  words. 

Brutus.      The  name  of  Cassius  honors  this  corruption, 
And  chastisement  doth  therefore  hide  his  head. 

Cassius.     Chas  *1  tisement! 

—  Shakespeare. 

Lady  Macbeth.  O,  *1  proper  1  stuff!  *1 

This  is  the  very  painting  *1  of  your  fear: 
This  is  the  air-drawn  dagger  *1  which,  you  said, 
Led  you  to  Duncan.    O,  these  flaws  *1  and  starts,  *1 
Impostors  to  true  fear,  would  well  become 
A  woman's  *1  story,  at  a  winter's  fire, 
Authorized  by  her  grandam.  *1  Shame  *1  itself! 

—  Shakespeare. 

(4)  Before  and  After. 

a.  Transposed  Words  or  Phrases. 

This  includes  all  qualifying  words  which  follow  the  words  they 
qualify,  a  method  so  frequently  employed  in  poetic  language. 

In  the  morning  *!  it  flourisheth;  in  the  evening  1  it  is  cut  down. 

—  Bible. 
Not  for  its  gnarled  oaks  1  olden,  dark  with  the  mistletoe. 

—  Alice  Cary. 

b.  Before  and  after  Words  and  Phrases  used  in  Apposition. 
The  appositional  words  or  the  chief  nouns  of  the  appositional 

phrases  are  always  in  the  same  case ;  since  one  gives  an  addi- 
tional idea  or  explanation  of  the  other,  they  should  be  separated 
by  a  Pause. 


PAUSE  49 

He  was  the  friend  of  Cicero  *1  the  orator,  *'.  a  citizen  of  Rome. 

Jaffar  *1  the  Barmecide,  *1  the  good  vizier,  *1 

The  poor  man's  hope,  *1  the  friend  without  a  peer,  ^ 

Jaffar  was  dead,  slain  by  a  doom  unjust. 

—  Leigh  HiDit. 

c.  Before  a?id  after  Direct  Quotations. 

Direct  Quotations  on  the  printed  page  are  generally  indi- 
cated by  quotation  marks  or  capitalized  initials,  while  indirect 
quotations  coming  in  the  body  of  a  sentence  are  usually  intro- 
duced by  the  word  "  that,"  already  explained. 

She  said,  *1  "O  God!  protect  my  child,"  *1  and  died. 

Then  Agrippa  said  unto  Paul,  *1  Thou  art  permitted  to  speak  for 
thyself.  *'i  Then  Paul  stretched  forth  the  hand,  and  answered  for 
himself.  —  Bible. 

d.  Before  and  after  Parenthetical  Expressions. 

Since  the  main  sentence  would  be  complete  without  the 
additional  thought  of  the  parenthesis,  it  is  evident  that  the 
parenthetical  word  or  phrase  should  be  separated  from  the  rest 
of  the  sentence  by  Pauses. 

He  gave  to  misery  all  he  had  —  la  tear. 

He  gained  from  Heaven,  —  *'i  'twas  all  he  wished,  *1  a  friend. 

—  Gray. 
Be  noble !    and  the  nobleness  that  lies 
In  other  men,  1  sleeping  but  never  dead,  *1 
Will  rise  in  majesty  to  meet  thine  own.  —  Lowell. 

Select io/t  for  Phrasing. 

The  grouping  of  language  into  its  thought  phrases  by  the 
use  of  rhetorical  Pauses  is  sometimes  called  Phrasing,  —  a 
process  necessary  to  the  easy  understanding  of  the  reader  or 
speaker. 

Note.  In  the  following  selection  the  student  should  indicate  the 
Pauses  by  vertical  lines  in  pencil,  subject  to  the  criticism  of  the 
instructor.    In  phrasing  any  selection  the  student  will  frequently  find 


50  ESSENTIALS   OF   PUBLIC  SPEAKING 

several  reasons  for  the  same  Pause  ;  and,  naturally  enough,  the  markings 
of  a  number  of  students  will  differ  somewhat,  according  to  the  different 
conceptions.  This  is  especially  true  when  Pauses  mark  strong  emphasis 
or  emotion ;  but  it  should  be  remembered  that  different  conceptions  of 
the  lines  do  not  alter  the  principles  governing  the  use  of  Pauses,  for  all 
conceptions  are  met  in  the  list  of  pausing-places  given  above. 

After  the  Pauses  are  decided  upon  and  marked  the  student  should 
read  or  recite  the  selection,  observing  the  Pauses  by  sight  or  memory. 
This  is  the  only  way  in  which  concert  reading  —  sometimes  a  necessary 
evil  in  overcrowded  class  rooms  —  can  be  successfully  conducted;  and 
by  it  the  responsive  readings  of  religious  services  may  be  improved. 
By  practice  the  student  will  soon  learn  to  recognize  the  Pauses  as 
clearly  as  the  words,  and  the  habit  of  correct  phrasing  without  the  use 
of  marks  will  become  fixed. 

In  the  following  the  first  paragraph  is  marked  by  vertical  lines,  byway 
of  illustration  of  the  method  to  be  followed  throughout  the  selection. 


A  CHILD'S   DREAM  OF  A   STAR 
Charles  Dickens 

There  was  once  a  child,  |  and  he  strolled  about  |  a  good  deal,  | 
and  thought  of  a  number  of  things.  |  He  had  a  sister  |  who  was 
a  child  too,  |  and  his  constant  companion.  |  They  wondered  at 
the  beauty  of  flowers  ;  |  they  wondered  at  the  height  and  blueness 
of  the  sky ;  |  they  wondered  at  the  depth  of  the  water ;  |  they 
wondered  at  the  goodness  and  power  of  God,  |  who  made  them 
lovely.  I 

They  used  to  say  to  one  another  sometimes  :  Supposing  all  the 
children  upon  earth  were  to  die,  would  the  flowers,  and  the 
water,  and  the  sky  be  sorry .?  They  believed  they  would  be  sorry. 
For,  said  they,  the  buds  are  the  children  of  the  flowers,  and  the 
little  playful  streams  that  gambol  down  the  hillsides  are  the  chil- 
dren of  the  water,  and  the  smallest  bright  specks  playing  at  hide 
and  seek  in  the  sky  all  night  must  surely  be  the  children  of  the 
stars ;  and  they  would  all  be  grieved  to  see  th'eir  playmates,  the 
children  of  men,  no  more. 

There  was  one  clear  .shining  star  that  used  to  come  out  in  the 
sky  before  the  rest,  near  the  church  spire,  above  the  graves.     It 


PAUSE  51 

was  larger  and  more  beautiful,  they  thought,  than  all  the  others, 
and  every  night  they  watched  for  it,  standing  hand-in-hand  at  a 
window.  Whoever  saw  it  first,  cried  out,  "  I  see  the  star."  And 
after  that,  they  cried  out  both  together,  knowing  so  well  when  it 
would  rise,  and  where.  So  they  grew  to  be  such  friends  with  it 
that,  before  laying  down  in  their  bed,  they  always  looked  out 
once  again  to  bid  it  good  night ;  and  when  they  were  turning 
around  to  sleep,  they  used  to  say,  "  God  bless  the  star!  " 

But  while  she  was  still  very  young,  O,  very  young,  the  sister 
drooped,  and  came  to  be  so  weak  that  she  could  no  longer  stand 
in  the  window  at  night,  and  then  the  child  looked  sadly  out  by 
himself,  and,  when  he  saw  the  star,  turned  round  and  said  to  the 
patient  pale  face  on  the  bed,  "  I  see  the  star !  "  and  then  a  smile 
would  come  upon  the  face,  and  a  little  weak  voice  used  to  say, 
"  God  bless  my  brother  and  the  star  !  " 

And  so  the  time  came,  all  too  soon,  when  the  child  looked  out 
all  alone,  and  when  there  was  no  face  on  the  bed,  and  when  there 
was  a  grave  among  the  graves,  not  there  before,  and  when  the 
star  made  long  rays  down  toward  him  as  he  saw  it  through  his 
tears. 

Now  these  rays  were  so  bright,  and  they  seemed  to  make  such 
a  .shining  way  from  earth  to  heaven,  that  when  the  child  went 
to  his  solitary  bed,  he  dreamed  about  the  star  ;  and  dreamed  that, 
laying  where  he  was,  he  saw  a  train  of  people  taken  up  that 
sparkling  road  by  angels  ;  and  the  star,  opening,  showing  him  a 
great  world  of  light,  where  many  more  such  angels  waited  to 
receive  them. 

All  these  angels,  who  were  waiting,  turned  their  beaming  eyes 
upon  the  people  who  were  carried  up  into  the  star ;  and  some 
came  out  from  the  long  rows  in  which  they  stood,  and  fell  upon 
the  people's  necks,  and  kissed  them  tenderly,  and  went  away  with 
them  down  avenues  of  light,  and  were  so  happy  in  their  company, 
that  lying  in  his  bed  he  wept  for  joy. 

But  there  were  many  angels  who  did  not  go  with  them,  and 
among  them  one  he  knew.  The  patient  face  that  once  had  lain 
upon  the  bed  was  glorified  and  radiant,  but  his  heart  found  out 
his  sister  among  all  the  host. 


52  ESSENTIALS   OF   PUBLIC  SPEAKING 

His  sister's  angel  lingered  near  the  entrance  of  the  star,  and 
said  to  the  leader  among  those  who  had  brought  the  people  thither, 
"Is  my  brother  come  ?  " 

And  he  said,  "  No  !  " 

She  was  turning  hopefully  away,  when  the  child  stretched  out 
his  arms,  and  cried,  "  O,  sister,  I  am  here  !  Take  me  !  "  And  then 
she  turned  her  beaming  eyes  upon  him,  —  and  it  was  night ;  and 
the  star  was  shining  into  the  room,  making  long  rays  down 
towards  him  as  he  saw  it  through  his  tears. 

From  that  hour  forth  the  child  looked  out  upon  the  star  as  the 
home  he  was  to  go  to  when  his  time  should  come  ;  and  he  thought 
that  he  did  not  belong  to  the  earth  alone,  but  to  the  star  too,  be- 
cause of  his  sister's  angel  gone  before. 

There  was  a  baby  born  to  be  a  brother  to  the  child,  and  while 
he  was  so  litde  that  he  never  yet  had  spoken  a  word,  he  stretched 
out  his  tiny  form  on  his  bed  and  died. 

Again  the  child  dreamed  of  the  opened  star,  and  of  the  company 
of  angels,  and  the  train  of  people,  and  the  rows  of  angels,  with 
their  beaming  eyes  all  turned  upon  those  people's  faces. 

Said  his  sister's  angel  to  the  leader,  "Is  my  brother  come?" 

And  he  said,  "Not  that  one,  but  another!  " 

As  the  child  beheld  his  brother's  angel  in  her  arms,  he  cried, 
"O,  my  sister,  I  am  here!  Take  me!"  And  she  turned  and 
smiled  upon  him,  —  and  the  star  was  shining. 

He  grew  to  be  a  young  man,  and  was  busy  at  his  books,  when 
an  old  servant  came  to  him  and  said,  "Thy  mother  is  no  more. 
I  bring  her  blessing  on  her  darling  son." 

Again  at  night  he  saw  the  star,  and  all  that  former  company. 
Said  his  sister's  angel  to  the  leader,  "Is  my  brother  come?" 

And  he  said,  "Thy  mother!" 

A  mighty  cry  of  joy  went  forth  through  all  the  star,  because  the 
mother  was  reunited  to  her  two  children.  And  he  stretched  out 
his  arms  and  cried,  "O,  mother,  sister,  and  brother,  I  am  here! 
Take  me ! "  And  they  answered  him,  "  Not  yet ! "  —  and  the  star 
was  shining. 

He  grew  to  be  a  man,  whose  hair  was  turning  gray,  and 
he  was  sitting  in  liis  chair  by  the  fireside,  heavy  with  grief,  and 


QUANTITY  53 

with  his  face  bedewed  with  tears,  when  the  star  opened  once 
again. 

Said  his  sister's  angel  to  the  leader,  "Is  my  brother  come?" 
And  he  said,  "Nay,  but  his  maiden  daughter!" 
And  the  man  who  had  been  the  child  saw  his  daughter,  newly 
lost  to  him,  a  celestial  creature  among  those  three,  and  he  said, 
"  My  daughter's  head  is  on  my  sister's  bosom,  and  her  arm  is 
around  my  mother's  neck,  and  at  her  feet  is  the  baby  of  old  time, 
and  I  can  bear  the  parting  from  her,  God  be  praised  !"  —  And  the 
star  was  shining. 

Thus  the  child  came  to  be  an  old  man,  and  his  once  smooth 
face  was  wrinkled,  and  his  steps  were  slow  and  feeble,  and  his 
back  was  bent.  And  one  night  as  he  lay  upon  his  bed,  his  chil- 
dren standing  round,  he  cried,  as  he  cried  so  long  ago,  "  I  see 
the  star! " 

They  whispered  one  another,  "  He  is  dying."  And  he  said: 
"  I  am.  My  age  is  falling  from  me  like  a  garment,  and  I  move 
towards  the  star  as  a  child.  And,  O  my  Father,  now  L  thank 
Thee  that  it  has  so  often  opened  to  receive  tho.se  dear  ones  who 
await  me  !  " 

And  the  star  was  shining  ;  and  it  shines  upon  his  grave. 

SECTION  II.    QUANTITY 

Quantity  is  the  length  of  Time  given  to  the  utterance  of 
sounds,  syllables,  and  words.  While  Pauses,  as  we  have  seen, 
group  language  into  its  mental  significance,  the  various  lengths 
of  Quantity  are  especially  adapted  to  the  expression  of  the  dif- 
ferent shades  of  feeling  or  emotion.  In  the  toll  of  the  funeral 
bell  or  the  groan  of  sorrow  we  hear  a  long  attenuation  of  sound 
and  recognize  the  expression  of  solemnity,  sorrow-,  or  gloom  ; 
in  the  clapping  of  hands  or  the  quick  impulses  of  laughter  we 
hear  the  shorter  Quantity  and  recognize  gladness,  mirth,  or 
ecstatic  joy  ;  w-hile  in  the  moderate,  placid  flow  of  tone  we  rec- 
ognize the  poise  of  composure  or  tranquillity.  Quantity,  then, 
is  the  special  agent  of  the  Emotive  nature. 


54  ESSENTIALS   OF   PUBLIC   SPEAKING 

Quantity  naturally  divides  into  (i)  Long,  (2)  Medium,  and 
(3)  Short,  which,  in  turn,  are  associated  with  the  stopt  and 
continuant  sounds,  and  the  indefinite,  mutable,  and  immutable 
syllables  explained  in  Part  I. 

I.  Long  Quantity. 

The  length  of  Quantity,  like  that  of  Pauses,  is  relative  and 
not  absolute ;  it  is  dependent  upon  the  individuality  of  the 
speaker  and  the  sentiment  to  be  expressed.  The  longer  Quan- 
tities are  heard  in  nature  in  the  cries  and  calls  of  animals,  the 
groan  of  sorrow,  the  moaning  of  the  wind,  the  roar  of  the 
ocean,  etc.,  and  are  used  to  express  sorrow,  pathos,  reveretice, 
sublimity,  apostrophe,  courage,  command,  calling,  etc. 

Long  Quantity  may  be  given  only  on  the  continuant  sounds 
of  indefinite  and  mutable  syllables,  as  any  attempt  to  prolong 
the  stopt  sounds  or  immutable  syllables  results  in  drawling. 
The  proper  use  of  Long  Quantity  gives  dignity  and  character 
to  the  more  serious  or  lofty  forms  of  discourse ;  its  acoustic 
necessity  in  the  various  forms  of  calling  or  command  is  self- 
evident. 

In  passages  requiring  Long  Quantity  seek  out  the  words 
which  embody  the  sentiment,  and  upon  the  continuant  sounds 
and  syllables  of  these  words  give  Long  Quantity. 

Selection  for  Long  Quantity. 

Note.  In  the  following  selection  the  student  should  underscore  with 
pencil  the  words  which  embody  the  sentiment,  and  overscore  the  con- 
tinuant sounds  of  these  words  so  that  he  may  know  the  sounds  upon 
which  Long  Quantity  must  be  given.  With  faithful  practice  the  eye 
and  ear  may  thus  be  trained  to  detect  quickly  the  right  and  wrong  use 
of  Long  Quantity.  If  unemphatic  words  contain  continuant  sounds,  they 
should  not  be  given  prominence ;  nor  should  an  attempt  be  made  to  give 
Long  Quantity  to  the  emphatic  words  which  do  not  contain  sufficient 
time  value  to  warrant  its  use.  For  example,  in  the  first  two  lines  of  the 
following  poem  the  words  (9,  wonderful,  stream.  Time,  runs,  realm,  tears, 
maybe  underscored.  Silent  letters  are  not  to  be  counted,  as  a  in  stream, 
e  in  Time,  or  a  in  realm.    The  continuant  sounds  to  be  overscored  are, 


QUANTITY  55 

O,  and  n  in  wonderful,  m  in  stream,  m  in  Time,  r  and  «  in  runs,  and  //« 
in  realm.  The  word  /^arj  is  emphatic,  but  its  intrinsic  time  values 
would  not  allow  sufficient  Quantity  to  be  marked. 

In  this  manner  the  student  should  go  through  the  entire  poem  and 
then  read  it  aloud,  subject  to  the  criticism  of  the  instructor. 


THE   ISLE   OF   LONG   AGO 
B.  F.  Taylor 

O,  a  wonderful  stream  is  the  river  Time 

As  it  runs  through  the  realm  of  tears. 
With  a  faultless  rhythm  and  a  musical  rhyme, 
And  a  boundless  sweep  and  a  surge  subliine, 

As  it  blends  with  the  Ocean  of  Years. 

How  the  Winters  are  drifting,  like  flakes  of  snow, 

And  the  Summers  like  buds  between, 
And  the  year  in  the  sheaf;  so  they  come  and  they  go, 
On  the  river's  breast,  with  its  ebb  and  flow. 

As  it  glides  in  the  shadow  and  sheen. 

There's  a  magical  isle  up  the  river  Time, 

Where  the  softest  of  airs  are  playing; 
There's  a  cloudless  sky  and  a  tropical  clime. 
And  a  song  as  sweet  as  a  vesper  chime. 

And  the  Junes  with  the  roses  are  straying. 

And  the  name  of  that  isle  is  the  Long  Ago, 

And  we  bury  our  treasures  there  ; 
There  are  brows  of  beauty  and  bosoms  of  snow ; 
There  are  heaps  of  dust,  —  but  we  loved  them  so! 

There  are  trinkets  and  tresses  of  hair; 

There  are  fragments  of  song  that  nobody  sings, 

And  a  part  of  an  infant's  prayer; 
There's  a  lute  unswept,  and  a  harp  without  strings; 
There  are  broken  vows  and  pieces  of  rings. 

And  the  grarments  that  she  used  to  wear. 


56  ESSENTIALS   OF   PUBLIC   SPEAKING 

There  are  hands  that  are  waved  when  the  fairy  shore 

By  the  mirage  is  lifted  in  air; 
And  we  sometimes  hear  through  the  turbulent  roar 
Sweet  voices  we  heard  in  the  days  gone  before, 

When  the  wind  down  the  river  is  fair. 

O,  remember'd  for  aye  be  the  blessed  isle, 

All  the  day  of  our  life  until  night; 
When  the  evening  comes  with  its  beautiful  smile, 
And  our  eyes  are  closing  to  slumber  awhile, 

May  that  Greenwood  of  Soul  be  in  sight! 

2.  Medium  Quantity. 

As  the  word  implies,  this  is  the  ordinary,  unmarked  Quantity, 
intermediate  between  Long  and  Short,  given  to  utterance  when 
one  is  not  agitated  by  any  strong  emotion  or  unusual  restraint. 
It  is  heard  in  the  common  conversation  of  all  people  and  in 
the  ordinary  sounds  of  animate  nature.  It  is  used  in  elocution 
to  express  narration,  description,  didactic  or  heroic  thought,  and 
all  unemphatic  words  which  form  the  background  and  give 
contrast  to  the  emphatic  words  of  emotive  language. 

Selection  for  Medium  Quantity. 

Note.  One  of  the  most  prolific  sources  of  unnaturalness  in  reading 
and  speaking  is  the  failure  to  return  to  the  easy  utterance  of  the  ordinary 
elements  after  the  more  vigorous  expression  of  emotion.  It  is  no  small 
matter,  then,  to  read  or  speak  well  the  unemotive  parts  of  discourse. 
The  student  should  read  aloud  the  following  selection  in  a  colloquial 
manner. 

THE    BLUE   AND   THE   GRAY 

Henry  Cabot  Lodge 

From  a  speech  made  at  a  dinner  to  the  Robert  E.  Lee  Camp  of 
Confederate  Veterans,  in  Boston,  June  17,  1887 

I  do  not  stand  up  in  this  presence  to  indulge  in  any  mock  senti- 
mentality. You  brave  men  who  wore  the  gray  would  be  the  first 
to  hold  me  or  any  other  son  of  the  North  in  just  contempt  if  I 


QUANTITY  57 

should  say  that,  now  it  was  all  over,  I  thought  the  North  was  wrong 
and  the  result  of  the  war  a  mistake,  and  that  I  was  prepared  to 
suppress  my  political  opinions.  I  believe  most  profoundly  that  the 
war  on  our  side  was  eternally  right,  that  our  victory  was  the  sal- 
vation of  the  country,  and  that  the  results  of  the  war  were  of 
infinite  benefit  to  both  North  and  South.  But,  however  we  differed, 
or  still  differ,  as  to  the  causes  for  which  we  fought  then,  we  accept 
them  as  settled,  commit  them  to  history,  and  fight  over  them  no 
more.  To  the  men  who  fought  the  battles  of  the  Confederacy  we 
hold  out  our  hands  freely,  frankly,  and  gladly.  To  courage  and 
faith  wherever  shown  we  bow  in  homage  with  uncovered  heads. 
We  respect  and  honor  the  gallantry  and  valor  of  the  brave  men 
who  fought  against  us,  and  who  gave  their  lives  and  shed  their 
blood  in  defense  of  what  they  believed  to  be  right.  We  rejoice 
that  the  famous  general  whose  name  is  borne  upon  your  banner 
was  one  of  the  greatest  soldiers  of  modern  times,  because  he,  too, 
was  an  American.  We  have  ho  bitter  memories  to  revive,  no  re- 
proaches to  utter.  Reconciliation  is  not  to  be  sought,  because  it 
exists  already.  Differ  in  politics  and  in  a  thousand  other  ways  we 
must  and  shall  in  all  good  nature,  but  let  us  never  differ  with  each 
other  on  sectional  or  state  lines,  by  race  or  creed. 

We  welcome  you,  soldiers  of  Virginia,  as  others  more  eloquent 
than  I  have  said,  to  New  England.  We  welcome  you  to  old 
Massachusetts.  We  welcome  you  to  Boston  and  to  Faneuil  Hall. 
In  your  presence  here,  and  at  the  sound  of  your  voices  beneath 
this  historic  roof,  the  years  roll  back  and  we  see  the  figure  and 
hear  again  the  ringing  tones  of  your  great  orator,  Patrick  Henry, 
declaring  to  the  first  Continental  Congress,  "The  distinctions  be- 
tween Virginians,  Pennsylvanians,  New  Yorkers,  and  New  Eng- 
landers  are  no  more.  I  am  no  Virginian,  but  an  American."  A 
distinguished  Frenchman,  as  he  stood  among  the  graves  at  Arling- 
ton, said:  "Only  a  great  people  is  capable  of  a  great  civil  war." 
Let  us  add  with  thankful  hearts  that  only  a  great  people  is  capable 
of  a  great  reconciliation.  Side  by  side,  Virginia  and  Massachusetts 
led  the  colonies  into  the  War  for  Independence.  Side  by  side  they 
founded  the  government  of  the  United  States.  Morgan  and  Greene, 
Lee  and  Knox,  Moultrie  and  Prescott,  men  of  the  South  and  men 


58  ESSENTIALS   OF   PUBLIC   SPEAKING 

of  the  North,  fought  shoulder  to  shoulder,  and  wore  the  same  uni- 
form of  buff  and  blue,  —  the  uniform  of  Washington. 

Your  presence  here  brings  back  their  noble  memories,  it  breathes 
the  spirit  of  concord,  and  unites  with  so  many  other  voices  in  the 
irrevocable  message  of  union  and  good  will.  Mere  sentiment  all 
this,  some  may  say.  But  it  is  sentiment,  true  sentiment,  that  has 
moved  the  world.  Sentiment  fought  the  war,  and  sentiment  has 
reunited  us.  When  the  war  closed  it  was  proposed  in  the  newspapers 
and  elsewhere  to  give  Governor  Andrew,  who  had  sacrificed  health 
and  strength  and  property  in  his  public  duties,  some  immediately 
lucrative  office,  like  the  collectorship  of  the  port  of  Boston. 
A  friend  asked  him  if  he  would  take  such  a  place.  "No,"  said 
he;  "I  have  stood  as  high  priest  between  the  horns  of  the  altar, 
and  I  have  poured  out  upon  it  the  best  blood  of  Massachusetts, 
and  I  cannot  take  money  for  that."  Mere  sentiment  truly,  but  the 
sentiment  which  ennobles  and  uplifts  mankind.  It  is  sentiment 
which  so  hallows  a  bit  of  torn,  stained  bunting,  that  men  go  gladly 
to  their  deaths  to  save  it.  So  I  say  that  the  sentiment  manifested 
by  your  presence  here,  brethren  of  Virginia,  sitting  side  by  side 
with  those  who  wore  the  blue,  has  a  far-reaching  and  gracious  in- 
fluence, of  more  value  than  many  practical  things.  It  tells  us  that 
these  two  grand  old  Commonwealths,  parted  in  the  shock  of  the 
Civil  War,  are  once  more  side  by  side  as  in  the  days  of  the  Revo- 
lution, never  to  part  again.  It  tells  us  that  the  sons  of  Virginia  and 
Massachusetts,  if  war  should  break  again  upon  the  country,  will, 
as  in  the  olden  days,  stand  once  more  shoulder  to  .shoulder,  with 
no  distinction  in  the  colors  that  they  wear.  It  is  fraught  with 
tidings  of  peace  on  earth,  and  you  may  read  its  meaning  in  the 
words  on  yonder  picture,  "Liberty  and  Union,  now  and  forever, 
one  and  inseparable." 

3.  Short  Quantity. 

This  is  the  shortest  i)rolongation  of  sound  consistent  with  the 
requirements  of  articulation  ;  for  all  words,  however  short,  must 
be  given  sufficient  Quantity  to  be  heard.  We  recognize  short 
Quantities  in  the  clapping  of  hands,  the  popping  of  firecrackers, 
or  the  beat  of  the  drum,  all  of  which  are  significant  in  expression. 


QUANTITY  59 

In  speech  words  are  often  made  emphatic  by  the  very  shortness 
of  the  Quantity  ;  such  words  as  stop,  cion't,  quit,  back,  kick,  pop, 
cut,  stroke,  and  dash  would  be  given  an  opposite  meaning  if 
uttered  in  Long  Quantity. 

Short  Quantity  may  be  given  on  any  sound,  but  for  emphatic 
purposes  its  most  effective  use  is  on  the  immutable  syllables 
(p.  28).  It  expresses  such  states  of  mind  as/ty,  laughter,  im- 
patience, contempt,  fright,  and  excited  anticipation. 

Law  of  use:  Select  the  special  words  expressive  of  the  senti- 
ment, give  them  with  short  Quantity,  and  the  appropriate  col- 
oring of  the  entire  passage  will  be  evident. 

Selection  for  Short  Qiiatitity. 

Note.  As  a  rule  it  is  less  difficult  to  secure  a  correct  rendition  of 
Short  than  of  Long  Quantity;  but  in  many  cases  it  is  necessary  to  prac- 
tice Short  Quantity  to  break  up  sluggishness  of  speech  often  heard  in  the 
schoolroom.  In  the  following  selection  syxchwoxAsas  coot,  stiddeti,  sparkle, 
huri-y\  bicker,  slip,  little,  shatter,  bubble,  fret,  glance,  etc.,  should  be  given 
as  a  drill  in  Short  Quantity  and  this  practice  applied  when  the  selection 
is  given  as  a  whole. 

SONG   OF   THE   BROOK 
Alfred  Tennyson 

I  come  from  haunts  of  coot  and  hern, 

I  make  a  sudden  sally, 
And  sparkle  out  among  the  fern. 

To  bicker  down  a  valley. 

By  thirty  hills  I  hurry  down, 

Or  slip  between  the  ridges, 
By  twenty  thorps,  a  little  town, 

And  half  a  hundred  bridges. 

Till  last  by  PhiHp's  farm  I  flow 

To  join  the  brimming  river, 
For  men  may  come  and  men  may  go, 

But  I  iro  on  forever. 


60  ESSENTIALS   OF   PUBLIC  SPEAKING 

I  chatter  over  stony  ways, 
In  little  sharps  and  trebles, 

I  bubble  into  eddying  bays, 
I  babble  on  the  pebbles. 

With  many  a  curve  my  banks  I  fret 
By  many  a  field  and  fallow. 

And  many  a  fairy  foreland  set 
With  willow-weed  and  mallow. 

I  chatter,  chatter,  as  I  flow 
To  join  the  brimming  river, 

For  men  may  come  and  men  may  go, 
But  I  go  on  forever. 

I  wind  about,  and  in  and  out, 
With  here  a  blossom  sailing, 

And  here  and  there  a  lusty  trout, 
And  here  and  there  a  grayling; 

And  here  and  there  a  foamy  flake 

Upon  me,  as  I  travel 
With  many  a  silvery  waterbreak 

Above  the  golden  gravel, 

And  draw  them  all  along,  and  flow 
To  join  the  brimming  river. 

For  men  may  come  and  men  may  go. 
But  I  go  on  forever. 

I  steal  by  lawns  and  grassy  plots, 

I  slide  by  hazel  covers  ; 
I  move  the  sweet  forget-me-nots 

That  grow  for  happy  lovers  ; 

I  slip,  I  slide,  I  gloom,  I  glance, 
Among  my  skimming  swallows  ; 

I  make  the  netted  sunbeams  dance 
Against  my  sandy  shallows  ; 


QUANTITY  6l 

I  murmur  under  moon  and  stars 

In  brambly  wildernesses  ; 
I  linger  by  my  shingly  bars  ; 

I  loiter  round  my  cresses  ; 

And  out  again  I  curve  and  flow 

To  join  the  brimming  river  ; 
For  men  may  come  and  men  may  go, 

But  I  go  on  forever. 

4.  Vocal  Culture  of  Quantity. 

Note.  Aside  from  the  application  of  the  elements  in  the  selections 
given,  the  student  should  engage  in  a  systematic  drill  in  vocal  culture,  that 
he  may  apply  the  elements  unconsciously  and  naturally  in  practical 
speaking.  There  is  little  or  no  vocal  culture  in  Pauses,  but  in  Quantity 
the  following  exercises,  which  should  be  practiced  before  the  reading 
lesson,  will  be  found  helpful  and  sufficient  for  this  element.  Account 
must  be  taken  of  the  intrinsic  time  value  of  sounds  and  syllables,  lest  one 
fall  into  the  habit  of  drawling  on  the  one  hand  or  of  a  choppy  utterance 
on  the  other. 

(i)  Give  the  Continuant  sounds  a,  ?,  7,  o,  /7,  /,  m,  11,  ng,  and 
r  with  pure  voice,  prolonging  each  sound  as  much  as  possible 
without  drawling  it. 

(2)  Give  the  Stopt  sounds  a,  r,  7,  o,  n,/>,  f,  s,  in  the  shortest 
Quantity  consistent  with  distinctness. 

(3)  Practice  the  swell  of  the  voice  in  notes  of  song  on  the 
Continuant  sounds  ?,  ii,  a,  0,  I,  w,  n. 


(4)  Pronounce  distinctly  with  the  longest  consistent  Quantity 
the  following  words  :  toll,  tone,  true,  march,  all,  catch,  beat,  arm, 
full,  blood,  love,  home,  hut,  tnother. 


62  ESSENTIALS   OF   PUBLIC   SPEAKING 

(5)  Practice  the  following  sentences  in  their  appropriate 
Quantities  : 

Move  on,  thou  arm  of  the  law. 

Pick  it  up  quick,  Jack. 

Swung  by   Seraphim  whose   faint   footfalls   tinkle   on   the 

tufted  floor. 
And  he  rolls,  rolls,  rolls,  rolls,  a  pean  from  the  bells. 
How  they  tinkle,  tinkle,  tinkle,  in  the  icy  air  of  night. 
Voices  came  at  night,  recalling  j'ears  and  years  ago. 
Back  to  thy  punishment,  false  fugitive. 
How  it  tolls  for  the  souls  of  the  sailors  on  the  sea. 
And  every  word  its  ardor  flung 

From  off  its  jubilant,  iron  tongue. 

Was  "War!   War!   War!" 

5.  Selection  illustrating  all  Quantities. 

Note.  A  close  study  of  this  selection  shows  that  it  is  rich  in  the 
various  Quantities.  These  may  be  marked  before  reading  aloud,  or  they 
may  be  observed  without  the  marks. 

APPEAL   IN    BEHALF   OF    IRELAND 
S.  S.  Prentiss 

Fellow-Citizens :  It  is  no  ordinarj-  cause  that  has  brought 
together  this  vast  assemblage.  We  have  met,  not  to  prepare  our- 
selves for  political  contests ;  we  have  met,  not  to  celebrate  the 
achievements  of  those  gallant  men  who  have  planted  our  vic- 
torious standards-  in  the  heart  of  an  enemy's  country- ;  we  have 
assembled,  not  to  respond  to  shouts  of  triumph  from  the  West, 
but  to  answer  the  cry  of  want  and  suffering  which  comes  from  the 
East.  The  Old  World  stretches  out  her  arms  to  the  New.  The 
starving  parent  supplicates  the  young  and  vigorous  child  for  bread. 

There  lies  upon  the  other  side  of  the  wide  Atlantic  a  beautiful 
island,  famous  in  story  and  in  song.  Its  area  is  not  so  great  as 
that  of  the  state  of  Louisiana,  while  its  population  is  almost  half 
that  of  the  Union.  It  has  given  to  the  world  more  than  its  share  of 
genius  and  of  greatness.    It  has  been  prolific  in  statesmen,  warriors, 


QUANTITY  63 

and  poets.  Its  brave  and  generous  sons  have  fought  successfully 
all  battles  but  their  own.  In  wit  and  humor  it  has  no  equal ;  while 
its  harp,  like  its  history,  moves  to  tears  by  its  sweet  but  melancholy 
pathos. 

Into  this  fair  region  God  has  seen  fit  to  send  the  most  terrible 
of  all  those  fearful  ministers  that  fulfill  His  inscrutable  decrees.  The 
earth  has  failed  to  give  her  increase.  The  common  mother  has  for- 
gotten her  offspring,  and  she  no  longer  affords  them  their  accustomed 
nourishment.  Famine,  gaunt  and  ghastly  famine,  has  seized  a  nation 
with  its  strangling  grasp.  Unhappy  Ireland,  in  the  sad  woes  of  the 
present,  forgets,  for  a  moment,  the  gloomy  historj-  of  the  past. 

O,  it  is  terrible  that,  in  this  beautiful  world  which  the  good  God 
has  given  us,  and  in  which  there  is  plenty  for  us  all,  men  should 
die  of  star\-ation  !  When  a  man  dies  of  disease  he  alone  endures 
the  pain.  Around  his  pillow  are  gathered  sympathizing  friends, 
who,  if  they  cannot  keep  back  the  deadly  messenger,  cover  his 
face  and  conceal  the  horrors  of  his  visage  as  he  delivers  his  stern 
mandate.  In  battle,  in  the  fullness  of  his  pride  and  strength, 
little  recks  the  soldier  whether  the  hissing  bullet  sings  his  sudden 
requiem,  or  the  cords  of  life  are  severed  by  the  sharp  steel. 

But  he  who  dies  of  hunger  wrestles  alone,  day  by  day,  with  his 
grim  and  unrelenting  enemy.  He  has  no  friends  to  cheer  him  in 
the  terrible  conflict;  for,  if  he  had  friends,  how  could  he  die  of 
hunger?  He  has  not  the  hot  blood  of  the  soldier  to  maintain  him  ; 
for  his  foe,  vampire-like,  has  exhausted  his  veins.  Famine  comes 
not  up,  like  a  brave  enemy,  storming,  by  a  sudden  onset,  the  for- 
tress that  resists.  Famine  besieges.  He  draws  his  lines  round  the 
doomed  garrison.  He  cuts  off  all  supplies.  He  never  summons  to 
surrender,  for  he  gives  no  quarter. 

Alas,  for  poor  human  nature  !  how  can  it  sustain  this  fearful 
warfare?  Day  by  day  the  blood  recedes,  the  flesh  deserts,  the 
muscles  relax,  and  the  sinews  grow  powerless.  At  last  the  mind, 
which  at  first  had  bravely  nerved  itself  against  the  contest,  gives 
way  under  the  mysterious  influences  which  govern  its  union  with, the 
body.  Then  the  victim  begins  to  doubt  the  existence  of  an  over- 
ruling Providence.  He  hates  his  fellow-men,  and  glares  upon  them 
with  the  longing  of  a  cannibal ;  and,  it  may  be,  dies  blaspheming. 


64  ESSENTIALS  OF   PUBLIC   SPEAKING 

This  is  one  of  those  cases  in  which  we  may  without  impiety 
assmiie,  as  it  were,  the  function  of  Providence.  Who  knows  but 
that  one  of  the  ver}-  objects  of  this  calamity  is  to  test  the  benevo- 
lence and  worthiness  of  us  upon  whom  unlimited  abundance  is 
showered?  In  the  name,  then,  of  common  humanity,  I  invoke 
your  aid  in  behalf  of  star\-ing  Ireland.  Give  generously  and  freely. 
Recollect  that  in  so  doing  you  are  exercising  one  of  the  most  God- 
like qualities  of  your  nature,  and  at  the  same  time  enjoying  one  of 
the  greatest  luxuries  of  life.  Go  home  and  look  at  your  family, 
smiling  in  rosy  health,  and  then  think  of  the  pale,  famine-pinched 
cheeks  of  the  poor  children  of  Ireland ;  and  I  know  you  will  give, 
according  to  your  store,  even  as  a  bountiful  Providence  has  given 
to  you,  —  not  grudgingly,  but  with  an  open  hand.  He  who  is  able, 
and  will  not  aid  such  a  cause,  is  not  a  man,  and  has  no  right  to 
wear  the  form.  He  should  be  sent  back  to  Nature's  mint,  and 
reissued  as  a  counterfeit  on  humanity  of  Nature's  baser  metal. 

SECTION  in.    MOVEMENT 

Movement  is  the  rate  or  degree  of  rapidity  with  which  a 
series  of  sounds  or  words,  or  a  sentence,  is  uttered.  While 
Quantity  is  the  length  of  Time  given  to  words,  and  Pauses 
mark  the  silences  between  them,  Movement  measures  the 
speed  in  which  these  successive  sounds  and  silences  are  given. 

In  nature  we  hear  the  various  degrees  of  Movement  in  the 
murmuring  brook  and  the  roaring  torrent,  in  the  howl  of  the 
dog  and  the  chatter  of  birds,  in  the  tranquil  sounds  of  gentle 
breezes  and  the  terrible  crash  of  the  hurricane.  We  walk 
slowly  in  meditation  or  feebleness  and  run  in  excitement; 
these  manifestations  are  physical,  and  depend  upon  the  vitality 
we  use.  So,  under  different  states  of  mind  and  feeling,  human 
utterance  partakes  of  a  similar  variety  of  Movement  which 
manifestly  represents  the  Vital  nature  of  man. 

The  rate  of  Movement,  like  all  other  elements,  depends 
upon  the  character  of  the  sentiment  to  be  expressed  ;  if  lively, 
joyous,  or  impulsive,  it  must  be  rapid  ;   if  important,  grave,  or 


MOVEMENT 


65 


ponderous,  it  must  be  slow.  In  short,  if  the  expressive  mood 
relates  to  the  inner  or  reflective  life,  the  Movement  will  be 
slow ;  if  it  is  excited,  rapid  rate  will  be  the  natural  pace ;  and 
in  the  poised  or  balanced  states  of  mind  the  ordinary  or  moder- 
ate Movement  is  appropriate. 

Movement,  then,  may  be  divided  into  (i)  Sio7v,  (2)  Mod- 
erate, and  (3)  Rapid  degrees,  each  of  which  may  be  further 
subdivided  into  three  parts.  Slow  Movement,  for  instance, 
may  have  various  degrees  of  slowness  to  meet  the  demands  of 
expression.  This,  like  all  other  scales  in  elocution,  is  relative, 
and  is  dependent  upon  the  individuality  of  the  speaker  and 
the  acoustic  conditions.  The  whole  scale  of  Movement  must 
be  slower  in  a  large  auditorium  or  where  the  difficulties  of 
echo  are  to  be  overcome.  One  person  naturally  speaks  faster 
or  slower  than  another,  but  each  should  change  his  own  scale 
in  order  correctly  to  portray  the  various  shadings  of  expression. 

The  utterance  in  the  same  length  of  time  of  the  sentences 
below  consisting  of  three,  nine,  and  fifteen  syllables  respec- 
tively, as  indicated  by  the  following  diagram,  will  illustrate 
approximately  the  relative  rates  of  Movement  from  the  slowest 
to  the  most  rapid  : 


Slow 

3 

Syllables 

•                                    •                                     • 

Moderate 

0 

Rapid 

15 

" 

Slow.  Fare  thee  well ! 

Moderate.    She  was  conquered  by  her  own  factions. 

Rapid.  Through  his  ear  the  summons  stung 

As  if  a  battle-trump  had  rung. 


One  great  cause  of  monotony  in  delivery  is  the  lack  of 
variety  in  Movement.  This  is  so  simple  an  element  that  it 
often  escapes  the  attention  of  the  student.    It  demands  the 


66  ESSENTIALS   OF   PUBLIC   SPEAKING 

greatest  care  until  the  habit  of  changing  the  speed  to  suit  the 
changes  of  sentiment  becomes  fixed.  The  much-quoted  injunc- 
tion of  the  great  Mrs.  Siddons  to  all  aspiring  readers,  "Take 
time,"  is  often  misconstrued  into  "Read  slowly,"  and  applied 
to  all  kinds  of  reading;  but,  while  one  should  "take  time" 
and  give  the  proper  Quantity  to  the  expressive  words  of  the 
sentence,  the  utterance  of  the  unimportant  words  may  be 
rapid.  In  other  words,  the  rate  of  Movement  should  change 
with  every  change  of  thought  or  emotion.  The  criticism,  "  You 
speak  too  fast,"  is  usually  a  criticism  upon  articulation  which 
has  failed  to  keep  pace  with  the  Movement.  Not  many  persons 
read  or  speak  too  rapidly  ;  Rapid  Movement,  even  in  pathos 
or  solemnity,  is  generally  pleasing  if  the  articulation  is  clear 
and  sufficient  Time  is  given  to  the  emotional  words. 

Illustrative  Selections. 

Note.  In  Slow  Movement  the  Pauses  and  Quantities  will  necessarily 
be  long,  in  Moderate  Movement  they  will  be  of  ordinary  length,  and  in 
Rapid  Movement  of  short  duration.  The  variations  will  of  course  depend 
upon  the  states  of  feeling  expressed. 

(i)   Selection  for  Slow  Movefnent. 

THE  BURIAL  OF  MOSES 

C.  F.  Alexander 

By  Nebo's  lonely  mountain,  on  this  side  Jordan's  wave, 
In  a  vale  in  the  land  of  Moab,  there  lies  a  lonely  grave ; 
But  no  man  dug  that  sepulcher,  and  no  man  saw  it  e'er, 
For  the  angels  of  God  upturned  the  sod,  and  laid  the  dead  man 
there. 

That  was  the  grandest  funeral  that  ever  passed  on  earth ; 
But  no  man  heard  the  tramping,  or  saw  the  train  go  forth ; 
Noiselessly  as  the  daylight  comes  when  the  night  is  done, 
And  the  crimson  streak  on  ocean's  cheek  grows  into  the  great 
sun, — 


MOVEMENT  ^-j 

Noiselessly  as  the  springtime  her.  crown  of  verdure  weaves, 
And  all  the  trees  on  all  the  hills  open  their  thousand  leaves, — 
So,  without  sound  of  music,  or  voice  of  them  that  wept. 
Silently  down  from  the  mountain  crown  the  great  procession  swept. 

Lo !  when  the  warrior  dieth,  his  comrades  in  the  war. 

With  arms  reversed,  and  muffled  drum,  follow  the  funeral  car. 

They  show  the  banners  taken,  they  tell  his  battles  won, 

And  after  him  lead  his  masterless  steed,  while  peals  the  minute  gun. 

Amid  the  noblest  of  the  land  men  lay  the  sage  to  rest, 
And  give  the  bard  an  honored  place  with  costly  marble  dressed, 
In  the  great  minster  transept,  where  lights  like  glories  fall. 
And  the  sweet  choir  sings,  and  the  organ  rings,  along  the  embla- 
zoned wall. 

This  was  the  bravest  warrior  that  ever  buckled  sword ; 

This  the  most  gifted  poet  that  ever  breathed  a  word ; 

And  never  earth's  philosopher  traced,  with  his  golden  pen, 

On  the  deathless  page,  truths  half  so  sage,  as  he  wrote  down  for  men. 

And  had  he  not  high  honor,  the  hillside  for  his  pall ; 

To  lie  in  state  while  angels  wait  with  stars  for  tapers  tall ; 

And  the  dark  rock  pines,  like  tossing  plumes,  over  his  bier  to  wave  ; 

And  God's  own  hand,  in  that  lonely  land,  to  lay  him  in  the  grave? 

Oh,  lonely  tomb  in  Moab's  land,  oh,  dark  Beth-peor's  hill, 
Speak  to  these  curious  hearts  of  ours,  and  teach  them  to  be  still. 
God  hath  his  mysteries  of  Grace  —  ways  that  we  cannot  tell  ; 
He  hides  them  deep,  like  the  secret  sleep  of  him  he  loved  so  well 

(2)  Selectio7i  for  ATo derate  Movement. 

ELEMENTS   OF    NATIONAL  WEALTH 

James  G.  Blaine 

The  territory  which  we  occupy  is  at  least  three  million  square 
miles  in  extent,  within  a  fraction  as  large  as  the  whole  of  Europe. 
The  state  of  Texas  alone  is  equal  in  area  to  the  empire  of  France 


68  ESSENTIALS   OF   PUBLIC   SPEAKING 

and  the  kingdom  of  Portugal  united  ;  and  yet  these  two  monarchies 
support  a  population  of  forty  millions,  while  Texas  has  but  six  hun- 
dred thousand  inhabitants.  The  land  that  is  still  in  the  hands  of 
the  government,  not  sold  or  even  preempted,  amounts  to  a  thousand 
million  of  acres, —  an  extent  of  territory  thirteen  times  as  large  as 
Great  Britain,  and  equal  in  area  to  all  the  kingdoms  of  Europe, 
Russia  and  Turkey  alone  excepted. 

Combined  with  this  great  expanse  of  territory,  we  have  facili- 
ties for  the  acquisition  and  consolidation  of  wealth  —  varied,  mag- 
nificent, immeasurable.  The  single  state  of  Illinois,  cultivated  to 
its  capacity,  can  produce  as  large  a  crop  of  cereals  as  has  ever 
been  grown  within  the  limits  of  the  United  States,  while  Texas, 
if  peopled  but  half  as  densely  as  Maryland  even,  could  give  an 
annual  return  of  cotton  larger  than  the  largest  that  has  ever  been 
grown  in  all  the  southern  states  combined. 

Our  facilities  for  commerce  and  exchange,  both  domestic  and 
foreign,  —  who  shall  measure  them  ?  Our  oceans,  our  vast  inland 
seas,  our  marvelous  flow  of  navigable  streams,  our  canals,  our  net- 
work of  railroads  more  than  thirt}'  thousand  miles  in  extent, —  these 
give  us  avenues  of  trade  and  channels  of  communication  both 
natural  and  artificial  such  as  no  other  nation  has  ever  enjoyed. 
Our  mines  of  gold  and  silver  and  iron  and  copper  and  lead  and 
coal,  with  their  untold  and  unimaginable  wealth,  spread  over  mil- 
lions of  acres  of  territor}',  in  the  valley,  on  the  mountain  side,  along 
rivers,  yielding  already  a  rich  harvest,  are  destined  yet  to  increa.se 
a  thousandfold,  until  their  everyday  treasures, 
.  .  .  familiar  grown, 
Shall  realize  Orient's  fabled  dream. 

These  are  the  great  elements  of  material  progress,  and  they 
comprehend  the  entire  circle  of  human  enterprise,  —  agriculture, 
commerce,  manufactures,  mining.  They  give  into  our  hands, 
under  the  blessing  of  Almighty  God,  the  power  to  command  our 
fate  as  a  nation.  They  hold  out  to  us  the  grandest  future  reserved 
for  any  people ;  and  with  this  promise  they  teach  us  the  lesson  of 
patience,  and  render  patience  and  fortitude  a  duty. 

With  such  amplitude  and  affluence  of  resources,  and  with  such 
a  vast  stake  at  issue,  we  .should  be  unworthy  of  our  lineage  and 


MOVEMENT  69 

our  inheritance  if  we  for  one  moment  distrusted  our  ability  to  main- 
tain ourselves  a  united  people,  with  "one  country,  one  constitution, 
one  destiny." 

(3)   Selection  for  Rapid  Movement. 

THE  BOAT  RACE,  FROM  "TOM  BROWN  AT  OXFORD" 
Thomas  Hughes 

The  crew  had  just  finished  their  early  dinner.  Hark  !  the  first 
gun !  The  St.  Ambrose  crew  fingered  their  oars,  put  a  last  dash 
of  grease  on  their  rowlocks,  and  settled  their  feet  against  the 
stretchers.  "Shall  we  push  her  off.?"  asked  "bow."  "No,  I  can 
give  you  another  minute,"  said  the  coxswain,  who  was  sitting, 
watch  in  hand,  in  the  stern  ;  "only  be  smart  when  I  give  the  word. 
Eight  seconds  more  only.  Look  out  for  the  flash.  Remember, 
all  eyes  in  the  boat." 

There  it  comes,  at  last  —  the  flash  of  the  starting  gun.  Long 
before  the  sound  of  the  report  can  roll  up  the  river  the  whole  pent- 
up  life  and  energy  which  has  been  held  in  leash,  as  it  were,  for  the 
last  six  minutes  is  let  loose,  and  breaks  away  with  a  bound  and  a 
dash  which  he  who  has  felt  it  will  remember  for  his  life,  but  the 
like  of  which  will  he  ever  feel  again  ?  The  starting  ropes  drop 
from  the  coxswain's  hands,  the  oars  flash  into  the  water,  and 
gleam  on  the  feather,  the  spray  flies  from  them,  and  the  boats  leap 
forward. 

The  crowds  on  the  bank  scatter  and  rush  along,  each  keeping  as 
near  as  it  may  be  to  its  own  boat.  Some  of  the  men  on  the  towing 
path,  some  on  the  very  edge  of,  often  in,  the  water  —  some  slighdy 
in  advance,  as  if  they  could  help  to  drag  their  boat  forward — some 
behind,  where  they  can  see  the  pulling  better  —  but  all  at  full  speed, 
in  wild  excitement,  and  shouting  at  the  top  of  their  voices  to  those 
on  whom  the  honor  of  the  college  is  laid.  "Well  pulled,  all !"  "  Pick 
her  up  there,  five  !"  "You're  gaining,  every  stroke  !"  "Time  in  the 
bows!"  "Bravo,  St.  Ambrose!"  On  they  rushed  by  the  side  of 
the  boats,  jostling  one  another,  stumbling,  struggling,  and  panting 
alone:. 


70  ESSENTIALS   OF   PUBLIC   SPEAKING 

For  the  first  ten  strokes  Tom  Brown  was  in  too  great  fear  of 
making  a  mistake  to  feel  or  hear  or  see.  His  whole  soul  was  glued 
to  the  back  of  the  man  before  him,  his  one  thought  to  keep  time,  and 
get  his  strength  into  the  stroke.  But  as  the  crew  settled  down  into 
the  well-known  long  sweep,  consciousness  returned.  While  every 
muscle  in  his  body  was  straining,  and  his  chest  heaved,  and  his 
heart  leaped,  every  nerve  seemed  to  be  gathering  new  life  and  his 
senses  to  wake  into  unwonted  acuteness.  He  caught  the  scent  of 
the  wild  thyme  in  the  air,  and  found  room  in  his  brain  to  wonder 
how  it  could  have  got  there,  as  he  had  never  seen  the  plant  near 
the  river  or  smelt  it  before.  Though  his  eye  never  wandered  from 
the  back  of  the  man  in  front  of  him,  he  seemed  to  see  all  things 
at  once ;  and  amid  the  Babel  of  voices,  and  the  dash  and  pulse  of 
the  stroke,  and  the  laboring  of  his  own  breathing,  he  heard  a  voice 
coming  to  him  again  and  again,  and  clear  as  if  there  had  been  no 
other  sound  in  the  air:  "Steady,  two  !  steady!  well  pulled  !  steady, 
steady ! " 

The  voice  seemed  to  give  him  strength  and  keep  him  to  his 
work.  And  what  work  it  was  !  he  had  had  many  a  hard  pull  in  the 
last  six  weeks,  but  "  never  aught  like  this."  But  it  can't  last  forever ; 
men's  muscles  are  not  steel,  or  their  lungs  bull's  hide,  and  hearts 
can't  go  on  pumping  a  hundred  miles  an  hour  long  without  bursting. 
The  St.  Ambrose's  boat  is  well  away  from  the  boat  behind.  There 
is  a  great  gap  between  the  accompanying  crowds.  And  now,  as 
they  near  the  Gut,  she  hangs  for  a  moment  or  two  in  hand,  though 
the  roar  from  the  banks  grows  louder  and  louder,  and  Tom  is 
already  aware  that  the  St.  Ambrose  crowd  is  melting  into  the  one 
ahead  of  them. 

"We  must  be  close  to  Exeter!"  The  thought  flashes  into  him 
and  into  the  rest  of  the  crew  at  the  same  moment.  For,  all  at 
once,  the  strain  seems  taken  off  their  arms  again.  There  is  no 
more  drag.  She  sjirings  to  the  stroke  as  she  did  at  the  start ;  and 
the  coxswain's  face,  which  had  darkened  for  a  few  seconds,  light- 
ens up  again.  "You're  gaining  !  you're  gaining  !"  now  and  then  he 
mutters  to  the  captain,  who  responds  with  a  look,  keeping  his  breath 
for  other  matters.  Isn't  he  grand,  the  captain,  as  he  comes  forward 
like  lightning,   stroke   after  stroke,  his    back  flat,    his   teeth    set, 


MOVEMENT  71 

his  whole  frame  working  from  the  hips  with  the  steadiness  of  a 
machine  ?  As  the  space  still  narrows,  the  eyes  of  the  fiery  little 
coxswain  flash  with  excitement. 

The  two  crowds  are  mingled  now,  and  no  mistake ;  and  the  shouts 
come  all  in  a  heap  over  the  water.  "  Now,  St.  Ambrose,  six  strokes 
more  ! "  "  Now,  Exeter,  you're  gaining  ;  pick  her  up  ! "  "  Mind  the 
Gut,  Exeter!"  "Bravo,  St.  Ambrose  !"  The  water  rushes  by,  still 
eddying  from  the  strokes  of  the  boat  ahead.  Tom  fancies  now  he 
can  hear  the  voice  of  their  coxswain.  In  another  moment  both 
boats  are  in  the  Gut,  and  a  stonn  of  shouts  reaches  them  from 
the  crowd.  "Well  steered,  well  steered,  St.Ambro.se!"  is  the  cry. 
Then  the  coxswain,  motionless  as  a  statue  till  now,  lifts  his  right 
hand  and  whirls  the  tassel  round  his  head  :  "  Give  it  her  now,  boys  ; 
six  strokes  and  we  are  into  them  !" 

And  while  a  mighty  sound  of  shouts,  munnurs,  and  music  went 
up  into  the  evening  sky,  the  coxswain  shook  the  tiller  ropes  again, 
the  captain  shouted,  "Now,  then,  pick  her  up!"  and  the  St.  Am- 
brose boat  shot  up  between  the  swarming  banks  at  racing  pace  to 
her  landing  place,  the  lion  of  the  evening. 

(4)   Selection  for  all  Movements. 

Note.  It  is  suggested  that  the  student  make  a  close  study  of  the 
following  selection  and  read  it  aloud  for  the  instructor,  observing  the 
changes  in  the  rate  of  Movement  suggested  by  the  context.  Such  prac- 
tice will  soon  fix  the  habit  of  a  correct  use  of  this  principle. 

THE    LEPER 

N.  P.  Willis 

"  Room  for  the  leper  !    Room  ! "  and  as  he  came 
The  cry  passed  on.    "Room  for  the  Leper!  Room!" 
And  aside  they  stood  — 

Matron,  and  child,  and  pitiless  manhood  —  all 
Who  met  him  on  the  way  —  and  let  him  pass. 
And  onward  through  the  open  gate  he  came, 
A  leper  with  the  ashes  on  his  brow. 
Sackcloth  about  his  loins,  and  on  his  lip 


^2  ESSENTIALS   OF  PUBLIC   SPEAKING 

A  covering  —  stepping  painfully  and  slow, 
And  with  difficult  utterance,  like  one 
Whose  heart  is  with  an  iron  nen'e  put  down, 
Crying,  "  Unclean  !  unclean!"' 
For  Helon  was  a  leper. 

Day  was  breaking. 

When  at  the  altar  of  the  temple  stood 
The  holy  priest  of  God.    The  incense  lamp 
Burned  with  a  struggling  light,  and  a  low  chant 
Swelled  through  the  hollow  arches  of  the  roof, 
Like  an  articulate  wail ;  and  there,  alone. 
Wasted  to  ghastly  thinness,  Helon  knelt. 
The  echoes  of  the  melancholy  strain 
Died  in  the  distant  aisles,  and  he  rose  up. 
Struggling  with  weakness ;  and  bowed  down  his  head 
Unto  the  sprinkled  ashes,  and  put  off 
His  costly  raiment  for  the  leper's  garb, 
And  with  the  sackcloth  round  him,  and  his  lip 
Hid  in  the  loathsome  covering,  stood  still, 
Waiting  to  hear  his  doom : 

"  Depart !  depart,  O  child 

Of  Israel,  from  the  temple  of  thy  God  ! 

For  he  has  smote  thee  with  his  chastening  rod, 

And  to  the  desert  wild, 

From  all  thou  lov'st,  away  thy  feet  must  flee. 

That  from  thy  plague  his  people  may  be  free. 

"  Depart  !   and  come  not  near 

The  busy  mart,  the  crowded  city  more ; 

Nor  set  thy  foot  a  human  threshold  o'er ; 

And  stay  thou  not  to  hear 
Voices  that  call  thee  in  the  way  ;  and  fly 
From  all  who  in  the  wilderness  pass  by. 

"Wet  not  thy  burning  lip 

In  streams  that  to  a  human  dwellin<r  irh'de ; 


MOVEMENT  73 

Nor  rest  thee  where  the  covert  fountains  hide ; 

Nor  kneel  thee  down  to  dip 
The  water  where  the  pilgrim  bends  to  drink, 
By  desert  well,  or  river's  grassy  brink. 

"And  pass  thou  not  between 

The  weary  traveler  and  the  cooling  breeze ; 

And  lie  not  down  to  sleep  beneath  the  trees 

Where  human  tracks  are  seen. 
Nor  milk  the  goat  that  browseth  on  the  plain, 
Nor  pluck  the  standing  corn,  or  yellow  grain. 

"  And  now  depart !  and  when 

Thy  heart  is  heavy,  and  thine  eyes  are  dim, 

Lift  up  thy  prayer  beseechingly  to  Him 

Who,  from  the  tribes  of  men. 
Selected  thee  to  feel  his  chastening  rod : 
Depart,  O  leper !  and  forget  not  God." 

And  he  went  forth, —  alone  !  Not  one  of  all 
The  many  whom  he  loved,  nor  she  whose  name 
Was  woven  in  the  fibers  of  the  heart. 
Breaking  within  him  now,  to  come  and  speak 
Comfort  unto  him.    Yea,  he  went  his  way, — 
Sick  and  heartbroken,  and  alone, —  to  die ! 
For  God  had  cursed  the  leper. 

It  was  noon. 
And  Helon  knelt  beside  a  stagnant  pool 
In  the  lone  wilderness,  and  bathed  his  brow, 
Hot  with  the  burning  leprosy,  and  touched 
The  loathsome  water  to  his  fevered  lips. 
Praying  he  might  be  so  blest, —  to  die  ! 
Footsteps  approached,  and  with  no  strength  to  flee, 
He  drew  the  covering  closer  on  his  lip, 
Crying,  "  Unclean !  unclean  !  "  and  in  the  folds 
Of  the  coarse  sackcloth,  .shrouding  up  his  face. 
He  fell  upon  the  earth  till  they  should  pass. 
Nearer  the  stranger  came,  and  bending  o'er 


74  ESSENTIALS    OF   PUBLIC   SPEAKING 

The  leper's  prostrate  form,  pronounced  his  name, 

"  Helon  !  "  The  voice  was  Hke  the  master  tone 

Of  a  rich  instrument, —  most  strangely  sweet ; 

And  the  dull  pulses  of  disease  awoke, 

And  for  a  moment  beat  beneath  the  hot 

And  leperous  scales  with  a  restoring  thrill. 

"Helon,  arise  !"  And  he  forgot  his  curse, 

And  rose  and  stood  before  him.    Love  and  awe 

Mingled  in  the  regard  of  Melon's  eye 

As  he  beheld  the  stranger.    He  was  not 

In  costly  raiment  clad,  nor  on  his  brow 

The  symbol  of  a  princely  lineage  wore  ; 

No  followers  at  his  back,  nor  in  his  hand 

Buckler,  sword,  or  spear  ;  yet  in  his  mien 

Command  sat  throned  serene,  and  if  he  smiled, 

A  kingly  condescension  graced  his  lips. 

The  lion  would  have  crouched  to  in  his  lair. 

His  garb  was  simple  and  his  sandals  worn ; 

His  statue  modeled  with  a  perfect  grace  ; 

His  countenance,  the  impress  of  a  God, 

Touched  with  the  open  innocence  of  a  child  ; 

His  eye  was  blue  and  calm,  as  is  the  sky 

In  the  serenest  noon ;  his  hair  unshorn 

Fell  to  his  shoulders ;  and  his  curling  beard 

The  fullness  of  perfected  manhood  bore. 

He  looked  on  Helon  earnestly  awhile. 

As  if  his  heart  was  moved,  and,  stooping  down, 

He  took  a  little  water  in  his  hand 

And  laid  it  on  his  brow,  and  said,  "  Be  clean  ! " 

And  lo !  the  scales  fell  from  him,  and  hi-s  blood 

Coursed  with  delicious  coolness  through  his  veins., 

And  his  dry  palms  grew  moist,  and  on  his  brow 

The  dewy  softness  of  an  infant  stole. 

His  leprosy  was  cleansed,  and  he  fell  down 

Prostrate  at  Jesus'  feet,  and  worshiped  him. 


QUALITY  75 

CHAPTER  VI 

QUALITY 

Quality  is  the  kind  or  character  of  sound,  —  the  purity  or 
impurity  of  voice.  This  vocal  element  is  easily  recognized  in 
various  voices  and  is  peculiar  to  each  individual.  We  soon 
learn  to  know  a  person  by  the  sound  of  his  voice.  A  child's 
voice,  a  woman's  voice,  a  man's  voice,  or  the  voice  of  a  dog, 
a~hofseror  a  song  bird  are  essentially  different  in  Quality 
because  of  the  size  and  shape  of  the  vocal  organs  of  each.. 

Our  states  of  mind  and  feeling  are  shown  in  these  Qualities. 
If  we  say  "Good  morning,"  in  a  pleasant,  happy  frame  of 
mind  ;  then  utter  the  words,  "Oh  !  I'm  so  tired,"  in  a  weary, 
languid  manner;  then  give  the  words,  "I  hate  you!"  in  an 
angry  mood  ;  then  whisper  the  secret  injunction,  "  Boys,  be 
still";  and  lastly,  if  we  scream,  under  the  influence  of  fright 
or  terror,  we  easily  recognize  different  Qualities  of  voice. 

A  distinguishing  characteristic  of  each  Quality  is  its  reso- 
nance, which  is  the  strengthening  or  reenforcing  of  vibrations 
in  the  cavities  of  the  head,  throat,  and  chest.  Repeat  the 
words  of  Darius  Green,  "The  birds  can  fly  and  why  can't  I  ?" 
in  a  nasal,  twanging  tone  ;  then  utter  in  a  peaceful,  tranquil 
manner,  "How  sweet  the  moonlight  sleeps  upon  this  bank"; 
then  give  in  a  bold,  patriotic  way  the  sentence,  "Thou  too  sail 
on,  O  Ship  of  State  !  Sail  on,  O  Union,  strong  and  great !"; 
and  lastly,  speak  in  a  deep,  hollow,  sepulchral  tone  the  words 
"Tis  midnight's  holy  hour";  and  we  clearly  detect  a  deep- 
ening of  the  resonance  from  the  first  to  the  last  quotation.  It 
will  be  seen,  then,  that  we  have  the  power  to  change  resonance 
at  will,  and,  by  this  process,  change  the  Quality  of  voice  in  a 
natural  and  effective  way.  This  may  be  likened  to  the  stops  of 
the  pipe  organ,  by  which  the  musician  changes  the  Quality  of 
the  tone,  though  the  key,  time,  and  melody  remain  unchanged. 
The  reader,  like  the  organist,  must  "know  his  stops." 


76  ESSENTIALS   OF   PUBLIC   SPEAKING 

Every  person  at  any  period  of  life  has  a  normal,  predomi- 
nant Quality  of  voice  and  seven  other  distinct  Qualities  in 
various  stages  of  development ;  these  are  technically  called, 
(i)  Normal,  (2)  Orotund,  (3)  Oral,  (4)  Nasal,  (5)  Falsetto, 
(6)  Guttural,  (7)  Pectoral,  and  (8)  Aspirate. 

delation  to  Mali's  Triune  Nature. 

We  have  seen  that  Quality,  broadly  speaking,  represents 
the  Emotive  nature  of  man  ;  but  a  closer  analysis  reveals  the 
fact  that  each  Quality  responds  more  especially  to  some  one 

Normal N  ^^  ^wo  of  our  three  na- 

Orotund,— -----'"'^^^'^"^^^    j  tures.     These    relations 

Orai..^^  X^^  /  are  shown  in  the  follow- 

QUALiTY  /  ^^'^'-----— %.vitai      \man    '"§  diagram,  and  will  be 
G^ulruX''''''''  ^^^^""^  f""y  explained  as 

Pectorai...?-::::v.Emouve  I  ^^^h  Quality  is  studied 

Aspirate,---'''  /  and  illustrated. 

Note.  The  Qualities  of  voice  are  no  more  difficult  to  learn  nor  less 
practical  in  application  than  the  essential  elements  of  any  other  science 
prescribed  in  a  curriculum.  In  fact,  it  has  been  shown  that  every  stu- 
dent is  already  in  possession  of  them,  but,  like  all  other  powers,  they 
need  cultivation  and  intelligent  application  so  that  the  speaker  may 
use  them  correctly,  effectively,  and  unconsciously  while  speaking.  The 
teacher  will  understand  that  any  given  QuaUty  of  one  voice  may  be 
quite  unlike  that  of  another  voice ;  the  care  will  be  to  have  each  stu- 
dent make  his  own  Qualities  at  their  best.  The  secret  of  successful  use 
of  these  and  all  elements  of  expression  lies  in  the  practice  of  them  with 
a  full  realization  of  the  sentiments  or  emotions  they  imply. 


SECTION  I.    NORMAL  QUALITY 

The  Normal  is  the  ordinary,  j)redominant  Quality  of  voice 
peculiar  to  each  individual.  It  is  the  basis  of  all  the  other 
Qualities,  each  of  which  is  some  modification  of  or  variation 
from  the  Normal.    A  speaker's  Normal  may  be  very  harsh  and 


NORMAL  QUALITY  JJ 

impure,  yet  it  is  no  less  his  own  habitual  tone.  The  most 
agreeable  and  effective  Normal  is  pure  in  Quality ;  the  vibra- 
tions of  the  vocal  cords  are  smooth  and  even,  the  resonance 
is  in  the  upper  and  back  part  of  the  mouth,  and  there  is  but 
little  escape  of  unvocalized  breath. 

In  the  sounds  of  nature  this  Quality  is  heard  in  the  rippling 
brook,  the  song  of  birds,  the  prattle  and  laughter  of  children, 
and  in  the  common  conversation  of  all  peoples.  It  belongs  to 
the  Mental  division  of  man's  triune  nature  because  it  is  the 
natural  expression  of  our  ordinary  thoughts  and  moods  when  we 
are  not  influenced  by  any  unusual  restraint  or  strong  emotion. 
It  is  used  then  to  express  ordinary  thought  and  emotion  such 
as  solemnity,  tranquillity,  tjiild  pathos,  conversation,  didactic 
thought,  gladness,  joy,  i7iirth,  and  laughter. 

The  use  of  a  pure  Normal  is  an  economic  method,  for  it  has 
greater  carrying  power  than  any  other  Quality,  requires  less 
effort  and  less  expenditure  of  breath,  and  is  more  easily  heard 
by  the  audience,  to  say  nothing  of  the  pleasing  impression  of  a 
good  voice.  To  acquire  it,  practice  on  the  vowel  sounds,  use 
a  pure  Normal  habitually  in  conversation,  and,  with  a  full  reali- 
zation of  the  sentiment,  read  aloud  or  recite  such  selections  as 
the  following  : 

Selection  illustrating  Normal  Quality. 

Note.  When  the  illustrative  selection  contains  a  great  predomi 
nance  of  the  elenient  under  consideration,  the  lines  are  unmarked;  but 
when  a  few  words  of  the  selection  illustrate  the  particular  element  in 
question  they  will  be  underscored. 

A  SECOND  TRIAL 

S.\RAH  Winter  Kellogg 

It  was  Commencement  at  one  of  our  colleges.  The  people  were 
pouring  into  the  church  as  I  entered  it,  rather  tardy.  Finding  the 
choice  seats  in  the  center  of  the  audience  room  already  taken,  I 


78  ESSENTIALS   OF   PUBLIC   SPEAKING 

pressed  forward,  looking  to  the  right  and  to  the  left  for  a  vacancy. 
On  the  very  front  row  of  seats  I  found  one. 

Here  a  little  girl  moved  along  to  make  room  for  me,  looking  into 
my  face  with  large  gray  eyes,  whose  brightness  was  .softened  by 
very  long  lashes.  Her  face  was  open  and  fresh  as  a  newly  blown 
rose  before  sunrise.  Again  and  again  I  found  my  eyes  turning  to 
the  roselike  face,  and  each  time  the  gray  eyes  moved,  half  smiling, 
to  meet  mine.  Evidently  the  child  was  ready  to  "make  up"  with 
me.  And  when,  with  a  bright  smile,  she  returned  my  dropped  hand- 
kerchief, and  I  said,  "Thank  you!"  we  seemed  fairly  introduced. 
Other  persons,  now  coming  into  the  seat,  crowded  me  quite  close 
up  against  the  little  girl,  so  that  we  soon  felt  very  well  acquainted. 

"There's  going  to  be  a  great  crowd,"  she  said  to  me. 

"Yes,"  I  replied;  "people  always  like  to  see  how  school  boys 
are  made  into  men." 

Her  face  beamed  with  pleasure  and  pride  as  she  said:  "My 
brother's  going  to  graduate;  he's  going  to  speak;  I've  brought 
these  flowers  to  throw  to  him." 

They  were  not  greenhouse  favorites  ;  just  old-fashioned  domestic 
flowers,  such  as  we  associate  with  the  dear  grandmothers  ;  "but," 
I  thought,  "they  will  seem  sweet  and  beautiful  to  him  for  little 
sister's  sake. " 

"That  is  my  brother,"  she  went  on,  pointing  with  her  nosegay. 

"The  one  with  the  light  hair.?"  I  asked. 

"Oh,  no,"  she  said,  smiling  and  shaking  her  head  in  innocent 
reproof;  "not  that  homely  one;  that  handsome  one  with  brown 
wavy  hair.  His  eyes  look  brown,  too  ;  but  they  are  not  —  they  are 
dark  blue.  There  !  he's  got  his  hand  up  to  his  head  now.  You  see 
him,  don't  you  ?" 

In  an  eager  way  she  looked  from  me  to  him,  and  from  him  to 
me,  as  if  some  important  fate  depended  upon  my  identifying  her 
brother. 

"I  see  him,"  I  said.    "He's  a  very  good-looking  brother." 

"Yes,  he  is  beautiful,"  she  said,  with  artless  delight ;  "and  he',s 
so  good,  and  he  studies  so  hard.  He  has  taken  care  of  me  ever 
since  mamma  died.  Here  is  his  name  on  the  programme.  He  is 
not  the  valedictorian,  but  he  has  an  honor,  for  all  that." 


NORMAL  QUALITY  79 

I  saw  in  the  little  creature's  familiarity  with  these  technical  col- 
lege terms  that  she  had  closely  identified  herself  with  her  brother's 
studies,  hopes,  and  successes. 

"His  oration  is  a  real  good  one,  and  he  says  it  beautifully.  He 
has  said  it  to  me  a  great  many  times.  1  'most  know  it  by  heart. 
Oh  1  it  begins  so  pretty  and  so  grand.  This  is  the  way  it  begins," 
she  added,  encouraged  by  the  interest  she  must  have  seen  in  my 
face:  "'Amid  the  permutations  and  combinations  of  the  actors 
and  the  forces  which  make  up  the  great  kaleidoscope  of  history, 
we  often  find  that  a  turn  of  Destiny's  hand — '  " 

"  Why,  bless  the  baby ! "  I  thought,  looking  down  into  her  bright, 
proud  face.  I  can't  describe  how  very  odd  and  elfish  it  did  seem 
to  have  those  big  words  rolling  out  of  the  smiling,  childish  mouth. 

As  the  exercises  progressed,  and  approached  nearer  and  nearer 
the  effort  on  which  all  her  interest  was  concentrated,  my  little 
friend  became  excited  and  restless.  Her  eyes  grew  larger  and 
brighter,  two  deep  red  spots  glowed  on  her  cheeks. 

"Now,  it's  his  turn,"  she  said,  turning  to  me  a  face  in  which 
pride  and  delight  and  anxiety  seemed  about  equally  mingled.  But 
when  the  overture  was  played  through,  and  his  name  was  called, 
the  child  seemed,  in  her  eagerness,  to  forget  me  and  all  the  earth 
beside  him.  She  rose  to  her  feet  and  leaned  forward  for  a  better 
view  of  her  beloved,  as  he  mounted  to  the  speaker's  stand.  I  knew 
by  her  deep  breathing  that  her  heart  was  throbbing  in  her  throat. 
I  knew,  too,  by  the  way  her  brother  came  up  the  steps  and  to  the 
front  that  he  was  trembling.  The  hands  hung  limp  ;  his  face  was 
pallid,  and  the  lips  blue  as  with  cold.  I  felt  anxious.  The  child, 
too,  seemed  to  discern  that  things  were  not  well  with  him.  Some- 
thing like  fear  showed  in  her  face. 

He  made  an  automatic  bow.  Then  a  bewildered,  struggling 
look  came  into  his  face,  then  a  helpless  look,  and  then  he  stood 
staring  vacantly,  like  a  somnambulist,  at  the  waiting  audience. 
The  moments  of  painful  suspense  went  by,  and  still  he  stood  as  if 
struck  dumb.  I  saw  how  it  was  ;  he  had  been  seized  with  stage 
fright. 

Alas!  little  sister!  She  turned  her  large,  dismayed  eyes  upon 
me.    "He's  forgotton  it,"  she  said.    Then  a  swift   change   came 


8o  ESSENTIALS   OF   PUBLIC   SPEAKING 

into  her  face  ;  a  strong,  determined  look ;  and  on  the  funeral-like 
silence  of  the  room  broke  the  sweet,  brave  child-voice:  "'Amid 
the  permutations  and  combinations  of  the  actors  and  the  forces 
which  make  up  the  great  kaleidoscope  of  history,  we  often  find 
that  a  turn  of  Destiny's  hand — '" 

Everybody  about  us  turned  and  looked.  The  breathless  silence  ; 
the  sweet,  childish  voice  ;  the  childish  face  ;  the  long,  unchildlike 
words,  produced  a  weird  effect. 

But  the  help  had  come  too  late  ;  the  unhappy  brother  was 
already  staggering  in  humiliation  from  the  stage.  The  band  quickly 
struck  up,  and  waves  of  lively  music  rolled  out  to  cover  the  defeat. 

I  gave  the  little  sister  a  glance  in  which  I  meant  to  show  the 
intense  sympathy  I  felt ;  but  she  did  not  see  me.  Her  eyes,  swim- 
ming with  tears,  were  on  her  brother's  face.  I  put  my  arm  around 
her,  but  she  was  too  absorbed  to  heed  the  caress,  and  before  I 
could  appreciate  her  purpose,  she  was  on  her  way  to  the  shame- 
stricken  young  man  sitting  with  a  face  like  a  statue's. 

When  he  saw  her  by  his  side  the  set  face  relaxed,  and  a  quick 
mist  came  into  his  eyes.  The  young  men  got  closer  together  to 
make  room  for  her.  She  sat  down  beside  him,  laid  her  flowers  on 
his  knee,  and  slipped  her  hand  in  his. 

I  could  not  keep  my  eyes  from  her  sweet,  pitying  face.  I  saw 
her  whisper  to  him,  he  bending  a  litde  to  catch  her  words.  Later, 
I  found  out  that  she  was  asking  him  if  he  knew  his  "piece"  now, 
and  that  he  answered  "  Yes." 

When  the  young  man  next  on  the  list  had  spoken,  and  while  the 
band  was  playing,  the  child,  to  the  brother's  great  surprise,  made 
her  way  up  the  stage  steps,  and  pressed  through  the  throng  of 
professors  and  trustees  and  distinguished  visitors,  up  to  the  college 
president. 

"If  you  please,  sir,"  she  said  with  a  little  courtesy,  "will  you 
and  the  trustees  let  my  brother  try  again.?  He  knows  his  piece 
now." 

For  a  moment  the  president  stared  at  her  through  his  gold- 
bowed  spectacles,  and  then,  appreciating  the  child's  petition,  he 
smiled  on  her,  and  went  down  and  spoke  to  the  young  man  who 
had  failed. 


OROTUND   QUALITY  8  I 

So  it  happened  that  when  the  band  had  again  ceased  playing, 

it  was  briefly  announced  that  Mr. ■ — would  now  deliver  his 

oration,  "Historical  Parallels." 

A  ripple  of  Jieightened  and  expectant  interest  passed  over  the 
audience,  and  then  all  sat  stone  still,  as  though  fearing  to  breathe 
lest  the  speaker  might  again  take  fright.  No  danger  ?  The  hero 
in  the  youth  was  aroused.  He  went  at  his/'piece"  with  a  set  pur- 
pose to  conquer,  to  redeem  himself,  and  to  bring  the  smile  back 
into  the  child's  tear-stained  face.  I  watched  the  face  during  the 
speaking.  The  wide  eyes,  the  parted  lips,  the  whole  rapt  being 
said  that  the  breathless  audience  was  forgotten,  that  her  spirit  was 
moving  with  his. 

And  w^hen  the  address  was  ended  with  the  ardent  abandon  of  one 
who  catches  enthusiasm  in  the  realization  that  he  is  fighting  down 
a  wrong  judgment  and  conquering  a  sympathy,  the  effect  was  really 
thrilling.  That  dignified  audience  broke  into  rapturous  applause  ; 
bouquets  intended  for  the  valedictorian  rained  like  a  tempest.  And 
the  child,  the  child  who  had  helped  to  save  the  day,  —  that  one 
beaming  little  face,  in  its  pride  and  gladness,  is  something  to  be 
forever  remembered. 


SECTION  II.    OROTUND  QUALITY 

The  Orotund  is  a  clear,  smooth,  vokiminous  Quality,  the 
resonance  of  which  is  in  the  upper  part  of  the  chest.  It  has 
the  purity  of  the  Normal  but  is  larger  in  volume  and  greater 
in  strength.  As  a  manifestation  of  our  being  it  carries  all  the 
mentality  of  the  Normal  with  the  added  vitality  of  this  the 
strongest  of  Qualities;  so  it  represents  both  the  Mental  and 
Vital  natures.  It  is  heard  in  nature  in  the  roar  of  the  ocean, 
the  sound  of  thunder,  the  booming  of  distant  cannon,  and  the 
low,  deep  tones  of  the  pipe  organ.  As  an  agent  of  expression 
it  is  used  to  convey  thoughts  and  emotions  of  a  sublime  and 
lofty  nature,  such  as  reverence,  sublimity,  grandeur,  patriotisin, 
lofty  oratorical  thought,  courage,  defiance,  and  alarm. 


82  ESSENTIALS   OF   PUBLIC   SPEAKING 

The  acquisition  of  this  Quality  adds  greatly  to  the  powers  of 
the  speaker  who  would  reach  the  strong  climaxes  of  impassioned 
oratory.  Like  all  other  elements,  it  must  be  employed  only  in 
the  utterance  of  its  appropriate  sentiments.  Most  speakers 
need  to  cultivate  this  Quality.  To  produce  it  one  should  keep 
in  mind  grand  and  lofty  thoughts,  open  wide  the  cavities  of 
the  pharynx,  larynx,  and  chest,  and  so  project  and  reflect  the 
sound  that  it  shall  be  clear  and  full  and  especially  reenforced 
by  the  resonant  vibrations  of  the  upper  chest. 

Selection  iUustrating  the  Orotund. 

Note.  As  conceptions  of  the  lines  of  any  selection  differ,  so  the 
rendition  of  readers  must  differ;  but  it  will  generally  be  agreed  that 
the  greater  part  of  the  following  poem  will  be  most  appropriately  given 
in  Orotund  Quality. 

BATTLE  HYMN  OF  THE  REPUBLIC 

Julia  Ward  Howe 

Mine  eyes  have  seen  the  glory  of  the  coming  of  the  Lord  ; 
He  is  trampling  out  the  vintage  where  the  grapes  of  wrath  are  stored ; 
He  hath  loosed  the  fateful  lightning  of  his  terrible  swift  sword : 
His  truth  is  marching  on. 

I  have  seen  Him  in  the  watch  fires  of  a  hundred  circling  camps  ; 
They  have  builded  Him  an  altar  in  the  evening  dews  and  damps; 
I  can  read  His  righteous  sentence  by  the  dim  and  flaring  lamps: 
His  day  is  marching  on. 

I  have  read  a  fiery  gospel  writ  in  burnished  rows  of  steel : 
"As  ye  deal  with  my  contemners,  so  with  you  my  grace  shall  deal ; 
Let  the  hero  born  of  woman  crush  the  serpent  with  his  heel, 
Since  God  is  marching  on." 

He  hath  sounded  forth  the  trumpet  that  shall  never  call  retreat, 
He  is  sifting  out  the  hearts  of  men  before  His  judgment  seat. 
Oh!  be  swift,  my  soul,  to  answer  Him !  Be  jubilant  my  feet ! 
Our  God  is  marchin"'  on. 


ORAL  QUALITY  83 

In  the  beauty  of  the  lilies  Christ  was  bom  across  the  sea, 
With  the  glory  in  his  bosom  that  transtigures  you  and  me  ; 
As  He  died  to  make  men  holy  let  us  die  to  make  men  free, 
While  God  is  marching;  on. 


SECTION  III.    ORAL  QUALITY 

The  Oral  is  a  thin,  feeble  Quahty,  with  the  resonance  in  the 
forw-ard  part  of  the  mouth.  It  is  the  opposite  of  the  Orotund 
in  strength,  resonance,  and  significance,  and  is  produced  by  a 
weak  projection  of  breath,  a  feeble  vibration  of  the  vocal  cords, 
and  a  shallowness  of  the  resonant  cavities.  In  fact,  it  is  the 
physical  result  of  feebleness  or  exhaustion,  and  always  repre- 
sents a  low  state  of  inherent  or  exerted  vitality ;  therefore  it 
logically  belongs  to  the  Vital  division  of  our  triune  nature. 
It  is  heard  in  nature  in  the  voice  of  a  human  being  or  lower 
animal  when  exhausted  by  sickness  or  fatigue.  It  is  used 
generally  in  an  impersonative  sense  to  express  sickfiess,  feeble- 
ness, idiocy,  timidity,  languor,  a.n<\  fatigue. 

The  Oral  wrongly  used,  or  as  a  fixed  habit  of  voice,  becomes 
a  serious  fault  in  expression,  and  as  such  should  be  avoided  ; 
but  its  correct  use  in  the  portrayal  of  the  above-named  condi- 
tions is  unmistakable. 

Selectiofi  illustrating  Oral  Qualify. 

Note.  The  impersonative  parts  of  the  following  selection  should  be 
read  with  different  degrees  of  Oral  Quality.  Strive  for  a  weak,  thin  tone 
in  this  impersonation. 

THE  OCEAN    BURIAL 

Captain  William  H.  Saunders,  U.S.A. 

"  O,  bury  me  not  in  the  deep,  deep  sea  1 " 
These  words  came  low  and  mournfully 
From  the  pallid  lips  of  a  youth  who  lay 
On  his  cabin  couch,  at  the  close  of  day. 


84  ESSENTIALS   OF  PUBLIC  SPEAKING 

He  had  wasted  and  pined,  'till  o'er  his  brow 
The  death-shade  had  slowly  pass'd  ;  and  now, 
When  the  land  and  his  fond-loved  home  were  nigh, 
They  had  gather'd  around  to  see  him  die. 

"O,  bury  me  not  in  the  deep,  deep  sea, 

Where  the  billowy  shroud  will  roll  over  me, 

Where  no  light  will  break  through  the  dark  cold  wave, 

And  no  sunbeam  rest  upon  my  grave  ! 

It  matters  not,  I  have  oft  been  told, 

Where  the  body  shall  lie  when  the  heart  is  cold ; 

Yet  grant  ye,  O,  grant  ye  this  one  boon  to  me, 

O,  bury  me  not  in  the  deep,  deep  sea ! 

"For  in  fancy  I've  listen'd  to  the  well-known  words, 
The  free  wild  winds,  and  the  songs  of  the  birds ; 
I  have  thought  of  home,  of  cot  and  bower, 
And  of  scenes  that  I  loved  in  childhood's  hour  : 
I  have  even  hoped  to  be  laid,  when  I  died. 
In  the  churchyard  there,  on  the  green  hillside  ; 
By  the  bones  of  my  fathers  my  grave  should  be : 
O,  bury  me  not  in  the  deep,  deep  sea. 

"Let  my  death  slumbers  be  where  a  mother's  prayer 
And  a  sister's  tear  shall  be  mingled  there  : 
O,  'twill  be  sweet,  ere  the  heart's  throb  is  o'er, 
To  know,  when  its  fountains  shall  gush  no  more, 
That  those  it  so  fondly  hath  yearn'd  for  will  come 
To  plant  the  first  wild  flowers  of  spring  on  my  tomb ; 
Let  me  lie  where  those  loved  ones  will  weep  o'er  me : , 
O,  bury  me  not  in  the  deep,  deep  sea.  ! 

"And  there  is  another;  her  tears  would  be  shed 

For  him  who  lay  far  in  the  deep  ocean  bed  : 

In  hours  that  it  pains  me  to  think  of  now, 

She  hath  twined  these  locks  and  hath  kiss'd  this  brow  : 

In  the  hair  she  hath  wreathed  shall  the  sea  snake  hiss. 

And  the  brow  she  hath  press'd  shall  the  cold  wave  ki.ss .? 


■      NASAL  QUALITY  85 

For  the  sake  of  the  bright  one  that  waiteth  for  me, 
O,  bury  me  not  in  the  deep,  deep  sea. 

"She  hath  been  in  my  dreams," — his  voice  fail'd  there. 
They  gave  no  heed  to  his  dying  prayer ; 
They  lower'd  him  slow  o'er  the  vessel's  side  ; 
Above  him  has  closed  the  dark,  cold  tide, 
Where  to  dip  their  light  wings  the  sea-fowls  rest, 
Where  the  blue  waves  dance  o'er  the  ocean's  crest. 
Where  billows  bound,  and  the  winds  sport  free  : 
They  have  buried  him  there  in  the  deep,  deep  sea. 


SECTION  IV.    NASAL  QUALITY 

The  Nasal  is  an  impure,  twanging  head  tone,  with  the  reso- 
nance in  the  front  nasal  cavities.  It  is  made  by  lowering  the 
soft  palate  and  projecting  the  sound  at  such  an  angle  that  it 
finds  its  reenforcing  vibrations  in  the  forward  parts  of  the  nasal 
cavities.  It  is  heard  in  the  lazy  call  of  the  street  peddler,  the 
discordant  braying  of  the  donkey,  and  in  the  wheezing  tones 
of  an  imperfect  bagpipe.  As  an  habitual  tone  it  is  the  result 
of  careless  habits  of  speech  or  of  obstructions  due  to  a  diseased 
condition  of  the  nasal  cavities,  and  as  such  it  is  a  grave  defect 
in  the  speaker.  Representing  thus  a  strongly  marked  condition 
of  the  vocal  organs,  and  bearing  the  stamp  of  the  physical 
result  in  vocality,  it  must  be  placed  in  the  Vital  division  of  the 
triune  nature.  Under  control  of  the  will  it  is  used  in  an  imper- 
sonative  sense  to  express  lazifiess^  mimicry,  mockery,  burlesque, 
or  drollery ;  and  in  the  expression  of  more  serious  thought  it 
is  often  employed  to  give  special  pungency  to  irony,  sarcasm, 
sneer,  and  contempt. 

Selection  illustrating  Nasal  Quality. 

Note.  From  the  descriptions  of  Darius  Green  in  the  following  poem 
it  is  generally  conceded  that  all  personations  of  him  should  be  given  in 
Nasal  Quality. 


86  ESSENTIALS   OF    PUBLIC   SPEAKING 

DARIUS  GREEN   AND   HIS   FLYING   MACHINE 

J.  T.  Trowbridge 

If  ever  there  lived  a  Yankee  lad, 

Wise  or  otherwise,  good  or  bad, 

Who,  seeing  the  birds  fly,  didn't  jump 

With  flapping  arms  from  stake  or  stump, 

Or,  spreading  the  tail  of  his  coat  for  a  sail, 

Take  a  soaring  leap  from  post  or  rail, 

And  wonder  why  lie  couldn't  fly. 

And  flap  and  flutter  and  wish  and  try, — 

If  ever  you  knew  a  country  dunce 

Who  didn't  try  that  as  often  as  once, 

All  I  can  say  is,  that's  a  sign 

He  never  would  do  for  a  hero  of  mine. 

An  aspiring  genius  was  Dary  Green  : 

The  son  of  a  farmer, —  age  fourteen  ; 

His  body  was  long  and  lank  and  lean, — 

Just  right  for  flying,  as  will  be  seen ; 

He  had  two  eyes  as  bright  as  a  bean. 

And  a  freckled  nose  that  grew  between, 

A  little  awry  ;   for  I  must  mention 

That  he  had  riveted  his  attention 

Upon  his  wonderful  invention. 

Twisting  his  tongue  as  he  twisted  the  strings. 

And  working  his  face  as  he  work'd  the  wings, 

And  with  every  turn  of  gimlet  or  screw 

Turning  and  screwing  his  mouth  round  too. 

Till  his  nose  seem'd  bent  to  catch  the  scent. 

Around  some  corner,  of  new-baked  pies. 

And  his  wrinkled  cheeks  and  his  squinting  eyes 

Grew  pucker'd  into  a  queer  grimace, 

That  made  him  look  very  droll  in  the  face. 

And  also  very  wise. 
And  wise  he  must  have  been,  to  do  more 
Than  ever  a  genius  did  before. 


NASAL  QUALITY  87 

Excepting  Daedalus  of  yore 
And  his  son  Icarus,  who  wore 
Upon  their  backs  those  wings  of  wax 
He  had  read  of  in  the  old  almanacs. 
Darius  was  clearly  of  the  opinion, 
That  the  air  is  also  man's  dominion, 
And  that,  with  paddle  or  fin  or  pinion, 
We  soon  or  late  shall  navigate 
The  azure  as  now  we  sail  the  sea. 
The  thing  looks  simple  enough  to  me  ; 

And,  if  you  doubt  it. 
Hear  how  Darius  reason'd  about  it  : 

"The  birds  can  fly,  an'  why  can't  I  ? 

Must  we  give  in,"  says  he  with  a  grin, 

"That  the  bluebird  an'  pho^be  are  smarter'n  we  be? 

Jest  fold  our  hands,  an'  see  the  swaller 

An'  blackbird  an'  catbird  beat  us  holler  ? 

Does  the  little  chatterin',  sas.sy  wren. 

No  bigge'rn  my  thumb,  know  more  than  men  ? 

Jest  show  me  that !  ur  prove  't  the  bat 

Hez  got  more  brains  than's  in  my  hat, 

An'  I'll  back  down,  an'  not  till  then!  " 

He  argued  further  :  "Nur  I  can't  see 

What's  th'  use  o'  wings  to  a  bumblebee, 

Fur  to  git  a  livin'  w'ith,  more'n  to  me  :  — 

Ain't  my  business  important's  his'n  is  ? 

That  Icarus  made  a  pretty  muss, — 

Him  an'  his  daddy  Daedalus  ; 

They  might  'a'  know'd  that  wings  made  o'  wax 

Wouldn't  stand  sun-heat  an'  hard  whacks: 

I'll  make  mine  o'  luther,  ur  suthin'  ur  other." 

And  he  said  to  himself,  as  he  tinker'd  and  plann'd, 
"  But  I  ain't  goin'  to  show  niy  hand 
To  nummies  that  never  can  understand 
The  fust  idee  that's  bie  an'  erand." 


88  ESSENTIALS    OF   PUBLIC   SPEAKING 

So  he  kept  his  secret  from  all  the  rest, 

Safely  button'd  within  his  vest; 

And  in  the  loft  above  the  shed 

Himself  he  locks,  with  thimble  and  thread 

And  wax  and  hammer  and  buckles  and  screws, 

And  all  such  things  as  geniuses  use  ;  — 

Two  bats  for  patterns,  curious  fellows  ! 

A  charcoal  pot  and  a  pair  of  bellows  ; 

Some  wire,  and  several  old  umbrellas ; 

A  carriage  cover  for  tail  and  wings  : 

A  piece  of  harness  ;  and  straps  and  strings  ; 

And  a  big  strong  box,  in  which  he  locks 

These  and  a  hundred  other  things. 

His  grinning  brothers,  Reuben  and  Burke 

And  Nathan  and  Jotham  and  Solomon,  lurke 

Around  the  corner  to  see  him  work. 

Sitting  crosslegg'd,  like  a  Turk, 

Drawing  the  wax'd  end  through  with  a  jerk. 

And  boring  the  holes  with  a  comical  quirk 

Of  his  wise  old  head,  and  a  knowing  smirk. 

But  vainly  they  mounted  each  other's  backs. 

And  poked  through  knot  holes  and  pried  through  cracks. 

With  wood  from  the  pile  and  straw  from  the  stacks 

He  plugg'd  the  knot  holes  and  calk'd  the  cracks  ; 

And  a  dipper  of  water,  which  one  would  think 

He  had  brought  up  into  the  loft  to  drink 

When  he  chanced  to  be  dry, 

Stood  always  nigh,  for  Darius  was  .sly  ! 

And,  whenever  at  work  he  happen'd  to  spy 

At  chink  or  crevice  a  blinking  eye, 

He  let  the  dipper  of  water  fly : 

"Take  that !  an',  ef  ever  ye  git  a  peep. 

Guess  ye'll  ketch  a  wea.sel  asleep  !  " 

And  he  sings  as  lie  locks  his  big  strong  liox  : 

"The  weasel's  head  is  small  an'  trim, 
An'  he  is  little  an'  long  an'  slim, 


NASAL  QUALITY  89 

An'  quick  of  motion  an'  nimble  of  limb, 

An',  ef  you'll  be  advised  by  me. 

Keep  wide  awake  when  ye're  ketchin'  him  !" 

So  day  after  day 
He  stitch'd  and  tinker'd  and  hamrtier'd  away, 

Till  at  last  'twas  done, — 
The  greatest  invention  under  the  Sun! 
"An'  now,"  says  Darius,  "hooray  fur  some  fun!" 

'Twas  the  Fourth  of  July,  and  the  weather  was  dry. 

And  not  a  cloud  was  on  all  the  sky. 

Save  a  few  light  fleeces,  which  here  and  there, 

Half  mist,  half  air. 
Like  foam  on  the  ocean  went  floating  by, — 
Just  as  lovely  a  morning  as  ever  was  seen 
For  a  nice  little  trip  in  a  flying  machine. 
Thought  cunning  Darius,  "Now  I  shan't  go 
Along  'ith  the  fellers  to  see  the  show  : 
rU  say  I've  got  sich  a  terrible  cough  ! 
An'  then,  when  the  folks  'ave  all  gone  off, 
ril  hev  full  swing  fur  to  try  the  thing, 
An'  practice  a  little  on  the  wing." 

"Ain't  goin'  to  see  the  celebration?" 
Says  brother  Nate.    "No;  botheration! 
I've  got  sich  a  cold  —  a  toothache  —  I  — 
My  gracious  !  — feel's  though  I  should  fly!" 
Said  Jotham,  "  'Sho  !  guess  ye  better  go." 

But  Darius  said,  "No  ! 
Shouldn't  wonder  'f  you  might  see  me,  though, 
'Long  'bout  noon,  ef  I  git  red 
O'  this  jumpin',  thumpin'  pain  'n  my  head." 
For  all  the  while  to  himself  he  said, — 

"  I  tell  ye  what ! 
I'll  fly  a  few  times  around  the  lot. 
To  see  how  't  seems,  then  soon's  Tve  got 


90  ESSENTIALS   OF   PUBLIC   SPEAKING 

The  hang  o'  the  thing,  ez  likely's  not, 

I'll  astonish  the  nation,  an'  all  creation, 

By  flyin'  over  the  celebration  ! 

Over  their  heads  I'll  sail  like  an  eagle  ; 

I'll  balance  myself  on  my  wings  like  a  sea  gull  ; 

I'll  dance  on  the  chimbleys  ;   I'll  stand  on  the  steeple 

I'll  flop  up  to  winders  an'  scare  the  people  ! 

I'll  light  on  the  liberty  pole,  an'  crow  ; 

An'  I'll  say  to  the  gawpin'  fools  below, 

'What  world's  this  'ere  that  I've  come  near?' 

Fur  I'll  make  'em  b'lieve  I'm  a  chap  f 'm  the  Moon  ; 

An'  I'll  try  a  race  'ith  their  ol'  balloon!" 

He  crept  from  his  bed  ; 
And,  seeing  the  others  were  gone,  he  said, 
"  I'm  gittin'  over  the  cold  'n  my  head." 

And  away  he  sped, 
To  open  the  wonderful  box  in  the  shed. 

His  brothers  had  walk'd  but  a  little  way. 

When  Jotham  to  Nathan  chanced  to  say, 

"What  is  the  feller  up  to,  hey  ? " 

"Don'o', —  the's  suthin'  ur  other  to  pay, 

Ur  he  wouldn't  'a'  stay'd  to  hum  to-day." 

Says  Burke,  "His  toothache's  all  'n  his  eye ! 

He  never'd  miss  a  Fo'th-o'-JuIy, 

Ef  he  hedn't  got  some  machine  to  try." 

Then  Sol,  the  little  one,  spoke  :   "  By  darn 

Le's  hurry  back,  an'  hide  'n  the  barn. 

An'  pay  him  fur  tellin'  us  that  yarn !  " 

"  Agreed  !  "  Through  the  orchard  they  creep  back, 

Along  by  the  fences,  behind  the  stack. 

And  one  by  one,  through  a  hole  in  the  wall. 

In  under  the  dusty  barn  they  crawl, 

Dress'd  in  their  Sunday  garments  all  ; 

And  a  very  astonishing  sight  was  that. 

When  each  in  his  cobwebb'd  coat  and  hat 


NASAL  QUALITY  91 

Came  up  through  the  floor  like  an  ancient  rat. 
And  there  they  hid  ;  and  Reuben  slid 
The  fastenings  back,  and  the  door  undid. 

"  Keep  dark  !  "  said  he, 
"  While  I  squint  an'  see  %Yhat  the'  is  to  see. 

As  knights  of  old  put  on  their  mail,  — 

From  head  to  foot  an  iron  suit, 

Iron  jacket  and  iron  boot. 

Iron  breeches,  and  on  the  head 

No  hat,  but  an  iron  pot  instead, 

And  under  the  chin  the  bail, 

(I  believe  they  call'd  the  thing  a  helm,)  — 

Then  sallied  forth  to  overwhelm 

The  dragons  and  pagans  that  plagued  the  realm  ; 

So  this  modern  knight  prepared  for  flight. 

Put  on  his  wings  and  strapp'd  them  tight, — 

Jointed  and  jaunty,  strong  and  light, — 

Buckled  them  fast  to  shoulder  and  hip, — 

Ten  feet  they  measured  from  tip  to  tip  ! 

And  a  helm  had  he,  but  that  he  wore. 

Not  on  his  head,  like  those  of  yore. 

But  more  like  the  helm  of  a  ship. 

"  Hush  !  "  Reuben  said,  "he's  up  in  the  shed  ! 
He's  open"d  the  winder, —  I  see  his  head  ! 
He  stretches  it  out,  an'  pokes  it  about, 
Lookin'  to  see  'f  the  coast  is  clear. 

An'  nobody  near  ;  — 
Guess  he  don'o'  who's  hid  in  here  ! 
He's  riggin'  a  springboard  over  the  sill ! 
Stop  laffln',  Solomon  !     Burke,  keep  still  ! 
He's  a  climbin'  out  now  —  Of  all  the  things  ! 
What's  he  got  on  ?   I  van,  it's  wings  ! 
An'  that  t'other  thing  ?   I  vum,  it's  a  tail ! 
An'  there  he  sets  like  a   hawk  on  a  rail ! 
Steppin'  careful,  he  travels  the  length 


92  ESSENTIALS   OF   PUBLIC   SPEAKING 

Of  his  springboard,  and  teeters  to  try  its  strength. 

Now  he  stretches  his  wings,  like  a  monstrous  bat ; 

Peeks  over  his  shoulder,  this  way  an'  that, 

Fur  to  see  'f  the'  's  any  one  passin'  by. 

But  the'  's  on'y  a  ca'f  an'  a  goslin'  nigh. 

They  turn  up  at  him  wonderin'  eye. 

To  see  —  The  dragon  !  he's  goin'  to  fly  ! 

Away  he  goes!  Jimminy!  what  a  jump  ! 

Flop  —  flop  —  an'  plump  to  the  ground  with  a  thump ! 

Flutt'rin'  an'  flound'rin',  all'n  a  lump  !  " 

As  a  demon  is  hurl'd  by  an  angel's  spear, 

Heels  over  head,  to  his  proper  sphere, — 

Heels  over  head,  and  head  over  heels. 

Dizzily  down  the  abyss  he  wheels, — 

So  fell  Darius.    Upon  his  crown. 

In  the  midst  of  the  barnyard,  he  came  down, 

In  a  wonderful  whirl  of  tangled  strings, 

Broken  braces  and  broken  springs, 

Broken  tail  and  broken  wings. 

Shooting  stars,  and  various  things, — 

Barnyard  litter  of  straw  and  chaff. 

And  much  that  wasn't  so  sweet  by  half. , 

Away  with  a  bellow  fled  the  calf, 

And  what  was  that .''  Did  the  gosling  laugh .-' 

'T  is  a  merry  roar  from  the  old  barn  door, 

And  he  hears  the  voice  of  Jotham  crying, 

"  Say,  D'rius  !  how  do  you  like  flyin' .?  " 

Slowly,  ruefully,  where  he  lay, 

Darius  just  turn'd  and  look'd  that  way. 

As  he  stanch'd  his  sorrowful  nose  with  his  cuff. 

"  Wal,  I  like  flyin'  well  enough," 

He  said  ;  "but  the'  ain't  sich  a  thunderin'  sight 

O'  fun  in't  when  ye  come  to  light." 

I  just  have  room  for  the  moral  here  : 

And  this  is  the  moral, —  Stick  to  your  .sphere  ; 


FALSETTO    QUALITY  93 

Or,  if  you  insist,  as  you  have  the  right, 
On  spreading  your  wings  for  a  loftier  flight, 
The  moral  is,  —  Take  care  how  you  light. 

SECTION  V.    FALSETTO  QUALITY 

The  Falsetto  is  a  pure,  shrill,  penetrating  Quality  ranging 
above  the  ordinary  Pitch,  with  the  resonance  in  the  upper  part 
of  the  pharynx.  It  is  literally  the  "false  voice,"  and  begins 
where  the  ordinary  tone  "outruns  its  compass"  and  breaks 
into  a  very  high  tone,  which  may  range  over  an  additional 
octave  or  more  of  Pitch.  It  is  heard  in  nature  in  the  cry  of 
a  whipped  dog,  the  feeble  voice  of  old  age,  the  scream  of  a 
frightened  child,  the  shriek  of  intense  pain,  and  in  the  excited 
cheers  of  a  crowd.  It  shows  a  condition  of  physical  excitability 
in  which  the  impelling  emotion  has  unpoised  the  vital  powers 
for  the  moment  and  the  vocal  utterance  has  outrun  the  natural 
compass  ;  so  this  Quality  plainly  represents  a  physical  condition 
of  utterance  and  belongs  to  the  Vital  class  in  our  triune  divi- 
sion. It  is  sometimes  due  to  a  weakness  and  lack  of  control  of 
the  vocal  cords,  and  habitual  breaking  of  the  voice  is  the  result ; 
such  a  habit  is  a  serious  fault  and  should  be  overcome  by 
judicious  vocal  culture.  In  expression  the  Falsetto  is  used  to 
express  great  excitement  such  as  fright,  yelling,  screamiiig, 
and  shouting. 

Selection  illustrating  Falsetto. 

Note.  The  underscored  parts  of  the  following  selection  may  very 
appropriately  be  given  in  Falsetto  Quality.  The  excitement  carries  the 
voice  above  the  natural  compass. 

HOW  WE  HUNTED  A  MOUSE 

Joshua  Jenkins 

I  was  dozing  comfortably  in  my  easy-chair,  and  dreaming  of 
the  good  times  which,  I  hope,  are  coming,  when  there  fell  upon 
my  ears  a  most  startling  scream.     It  was  the  voice  of  my  Maria 


94  ESSENTIALS   01    PUBLIC   SPEAKING 

Ann  in  agony.  The  voice  came  from  the  kitchen,  and  to  the  kitchen 
I  rushed.  The  idoHzed  form  of  my  Maria  was  perched  on  a  chair, 
and  she  was  flourishing  an  iron  spoon  in  all  directions,  and  shout- 
ing "  Shoo,"  in  a  general  manner  at  everything  in  the  room.  To  my 
anxious  inquiries  as  to  what  was  the  matter,  she  screamed,  "  O  ! 
Joshua,  a  mouse,  shoo — wha — shoo — a  great — ya,  shoo — horrid 
mouse,  and — she — ew — it  ran  right  out  of  the  cupboard — shoo — 
go  away — O  Joshua — shoo — kill  it,  oh,  my — shoo." 

All  that  fuss,  you  see,  about  one  little  harmless  mouse.  Some 
women  are  so  afraid  of  mice.  Maria  is.  I  got  the  poker  and  set 
myself  to  poke  that  mouse,  and  my  wife  jumped  down  and  ran  off 
into  another  room.  I  found  the  mouse  in  a  corner  under  the  sink. 
The  first  time  I  hit  it  I  didn't  poke  it  any  on  account  of  getting 
the  poker  all  tangled  up  in  a  lot  of  dishes  in  the  sink  ;  and  I  did 
not  hit  it  any  more,  because  the  mouse  would  not  stay  still.  It  ran 
right  toward  me,  and  I  naturally  jumped,  as  anj-body  would  ;  but 
I  am  not  afraid  of  mice,  and  when  the  horrid  thing  ran  up  inside 
the  leg  of  my  pantaloons,  I  yelled  to  Maria,  because  I  was  afraid 
it  would  gnaw  a  hole  in  my  garment. 

There  is  something  real  disagreeable  about  having  a  mouse 
inside  the  leg  of  one's  pantaloons,  especially  if  there  is  nothing 
between  you  and  the  mouse.  Its  toes  are  cold,  and  its  nails  are 
scratchy,  and  its  fur  tickles,  and  its  tail  feels  crawly,  and  there  is 
nothing  pleasant  about  it,  and  you  are  all  the  time  afraid  it  will 
try  to  gnaw  out,  and  begin  on  you  instead  of  on  the  cloth.  That 
mouse  was  next  to  me.  I  could  feel  its  every  motion  with  startling 
and  suggestive  distinctness.  For  these  reasons  I  yelled  to  Maria, 
and  as  the  case  seemed  urgent  to  me,  I  may  have  yelled  with  a  cer- 
tain degree  of  vigor;  but  I  deny  that  I  yelled  fire,  and  if  I  catch  the 
boy  who  thought  that  I  did,  I  shall  inflict  punishment  on  his  person. 

I  did  not  lose  my  presence  of  mind  for  an  instant.  I  caught  the 
mouse  just  as  it  was  clambering  over  my  knee,  and  by  pressing 
firmly  on  the  outside  of  the  cloth  I  kept  the  animal  a  prisoner  on 
the  inside.  I  kept  jumping  around  with  all  my  might  to  confuse 
it,  so  that  it  would  not  think  about  biting,  and  I  yelled  so  that 
the  mice  would  not  hear  its  squeaks  and  come  to  its  assistance. 
A  man  can't  handle  many  mice  at  once  to  advantage. 


FALSETTO   QUALITY  95 

Maria  was  white  as  a  sheet  when  she  came  into  the  kitchen,  and 
asked  what  she  should  do, —  as  though  I  could  hold  the  mouse  and 
plan  a  campaign  at  the  same  time.  1  told  her  to  think  of  some- 
thing, and  she  thought  she  would  throw  things  at  the  intruder; 
but  as  there  was  no  earthly  chance  for  her  to  hit  the  mouse,  while 
every  shot  took  effect  on  me,  I  told  her  to  stop,  after  she  had  tried 
two  flatirons  and  the  coal  scuttle.  She  paused  for  breath  ;  but  I 
kept  bobbing  around.  Somehow  I  felt  no  inclination  tc  sit  down 
anywhere.  "  Oh,  Joshua,"  she  cried;  "  I  wish  j'ou  had  not  killed  the 
cat."  Now  I  submit  that  that  wish  was  born  of  the  weakness  of 
woman's  intellect.  How  on  earth  did  she  suppose  a  cat  could  get 
where  that  mouse  was  ?  Rather  have  the  mouse  there  alone,  any- 
way, than  to  have  a  cat  prowling  around  after  it.  I  reminded 
Maria  of  the  fact  that  she  was  a  fool. 

Then  she  got  the  teakettle  and  wanted  to  scald  the  mouse. 
I  objected  to  that  process,  except  as  a  last  resort.  Then  she  got 
some  cheese  to  coax  the  mouse  down,  but  I  did  not  dare  let  go 
for  fear  it  would  run  up.  Matters  were  getting  desperate.  I  told 
her  to  think  of  something  else,  and  I  kept  jumping.  Just  as  I  was 
ready  to  faint  with  exhaustion,  I  tripped  over  an  iron,  lost  my 
hold,  and  the  mouse  fell  to  the  floor  very  dead.  I  had  no  idea  a 
mouse  could  be  squeezed  to  death  so  easily. 

That  was  not  the  end  of  trouble,  for  before  I  had  recovered  my 
breath  a  fireman  broke  in  one  of  the  front  windows,  and  a  whole 
company  followed  him  through,  and  they  dragged  hose  around, 
and  mussed  things  all  over  the  house,  and  then  the  foreman 
w^anted  to  thrash  me  because  the  house  was  not  on  fire,  and  I  had 
hardly  got  him  pacified  before  a  policeman  came  in  and  arrested 
me.  Some  one  had  run  down  and  told  him  I  was  drunk  and  was 
killing  Maria.  It  was  all  Maria  and  I  could  do,  by  combining  our 
eloquence,  to  prevent  him  from  marching  me  off  in  disgrace,  but 
we  finally  got  matters  quieted  and  the  house  clear. 

Now  when  mice  run  out  of  the  cupboard,  I  go  outdoors,  and  let 
Maria  "  shoo  "  them  back  again.  I  can  kill  a  mouse,  but  the  fun 
don't  pay  for  the  trouble. 


g6  ESSENTIALS   OF   PUBLIC   SPEAKING 

SECTION  VI.   GUTTURAL  QUALITY 

The  Guttural  is  a  harsh,  grating,  impure  Quality,  the  reso- 
nance of  which  is  in  the  upper  part  of  the  throat.  It  is  heard 
in  nature  in  the  snarl  of  a  dog,  the  growl  of  an  angry  tigress, 
or  the  crash  of  a  violent  storm.  It  is  the  natural  expression  of 
man  when  hostile  passions  produce  that  tense,  rigid  condition 
of  the  body  experienced  by  an  angry  or  infuriated  person. 
This  rigidity  of  body  which  hardens  the  whole  vocal  organism 
into  a  harshness  of  tone  is  produced  by  the  intensity  of  the  con- 
trolling emotion  ;  so  we  may  safely  conclude  that  this  Quality 
represents  about  equally  the  Emotive  and  Vital  natures  of  man. 
It  is  used,  then,  to  express  the  malignant  emotions  and  passions, 
such  as  malice,  scorn,  detestation,  anger,  revefige,  violent  hate,  and 
uncontrollable  rage.  In  oratorical  invective  or  in  certain  strong 
dramatic  situations  the  Guttural  is  indispensable. 

Selection  illustrating  the  Guttural. 

Note.  We  should  hate  the  false  as  well  as  love  the  "  good,  the  true, 
and  the  beautiful,"  and  therefore  this  Quality,  so  different  from  the 
ideal  Normal  in  purity  and  significance,  is  not  to  be  despised  in  expres- 
sion. It  is  one  of  the  extreme  Qualities  to  be  used  sparingly,  and  only 
when  needed  to  emphasize  the  particular  word  which  embodies  the 
malignant  emotion.  Indeed,  one  word  uttered  in  Guttural  Quality  is 
often  sufficient  to  portray  the  anger  of  the  entire  sentence. 

In  the  first  paragraph  of  the  following  selection  we  have  underscored 
some  of  the  words  which  should  take  this  Quality ;  the  student  should 
indicate  such  words  throughout  the  selection,  and,  with  a  realization  of 
their  meaning,  give  them  in  Guttural  Quality. 

HORRORS   OF   SAVAGE   WARFARE 
William  Pitt,  Earl  of  Chatham 

I  am  astonished,  shocked,  to  hear  such  principles  confessed,  to 
hear  them  avowed  in  this  House,  or  even  in  this  country  !  principles 
equally  unconstitutional,  inhuman,  and  unchristian  ! 

My  lords,  I  did  not  intend  to  trespass  again  upon  your  attention, 
but  I  cannot  repress  my  indignation, —  I  feel  myself  impelled  by 


GUTTURAL  QUALITY  97 

ever)'  duty.  We  are  called  upon  as  members  of  this  House,  as 
men,  as  Christian  men,  to  protest  against  such  notions,  standing 
near  the  throne,  polluting  the  ear  of  Majesty.  "  That  God  and 
Nature  put  into  our  hands  ! ""  ^  I  know  not  what  ideas  that  Lord 
may  entertain  of  God  and  Nature ;  but  I  know  that  such  abominable 
principles  are  equally  abhorrent  to  religion  and  humanity. 

What !  attribute  the  sacred  sanction  of  God  and  Nature  to  the 
massacres  of  the  Indian  scalping  knife,  to  the  cannibal  savage, 
torturing,  murdering,  roasting,  and  eating,  —  literally,  rny  Lords, 
eating.,  the  mangled  victims  of  his  barbarous  battles  !  Such  horrible 
notions  shock  every  precept  of  religion  revealed  or  natural,  and 
every  generous  feeling  of  humanity;  and,  my  Lords,  they  shock 
every  sentiment  of  honor ;  they  shock  me  as  a  lover  of  honorable 
war  and  a  detester  of  murderous  barbarity. 

These  abominable  principles,  and  this  more  abominable  avowal 
of  them,  demand  the  most  decisive  indignation.  I  call  upon  the 
Right  Reverend  Bench,  those  holy  ministers  of  the  Gospel  and 
pious  pastors  of  our  Church,  —  I  conjure  them  to  join  in  the  holy 
work,  and  to  vindicate  the  religion  of  their  God.  I  appeal  to  the 
wisdom  and  the  law  of  this  Learned  Bench  to  defend  and  support 
the  justice  of  their  country'.  I  call  upon  the  bishops  to  interpose 
the  unsullied  sanctity  of  their  lawn,  upon  the  learned  judges  to 
interi^ose  the  purity  of  their  ermine,  to  save  us  from  this  pollution. 
I  call  upon  the  honor  of  your  Lordships  to  reverence  the  dignity 
of  your  ancestors,  and  to  maintain  your  own.  I  call  upon  the 
spirit  and  humanity  of  my  countrj-  to  vindicate  the  national  char- 
acter.    I  invoke  the  genius  of  the  Constitution. 

From  the  tapestrj'  that  adorns  these  walls  the  immortal  ancestor 
of  this  noble  Lord  frowns  with  indignation  at  the  disgrace  of  his 
country  /  In  vain  he  led  your  victorious  fleets  against  the  boasted 
Armada  of  Spain ;  in  vain  he  defended  and  established  the  honor, 
the  liberties,  the  religion,  —  the  Protestant  religion  of  his  country, — 
against  the  arbitrary-  cruelties  of  Popery  and  the  Inquisition,  if 
these  worse  than  popish  and  inquisitorial  practices  are  let  loose 

1  Lord  Suffolk,  one  of  the  Secretaries  of  State,  defending  the  employment  of 
Indians  in  the  American  war,  had  declared,  in  the  House  of  Lords,  that  "  it  was 
perfectly  justifiable  to  use  all  the  means  that  God  and  Nattireput  into  our  hands." 


98  ESSENTIALS    OF   PUBLIC   SPEAKING 

amongst  us,  to  turn  forth  into  our  settlements,  among  our  ancient 
friends  and  relations,  the  merciless  cannibal,  thirsting  for  the  blood 
of  man,  woman,  and  child. 

To  send  forth  the  infidel  savage,  —  against  whom?  Against  your 
Protestant  brethren !  to  lay  waste  their  country,  to  desolate  their 
dwellings,  and  extirpate  their  race  and  name  with  these  horrible 
hellhounds  of  savage  war !  —  hellhounds^  I  say,  of  savage  war ! 
Spain  armed  herself  with  bloodhounds  to  extirpate  the  wretched 
natives  of  America ;  and  we  improve  on  the  inhuman  example  of 
even  Spanish  cruelty :  we  turn  loose  these  savage  hellhounds 
against  our  brethren  and  countrymen  in  America,  of  the  same 
language,  laws,  liberties,  and  religion,  endeared  to  us  by  every  tie 
that  should  sanctify  humanity. 

My  Lords,  this  awful  subject,  so  important  to  our  honor,  our 
Constitution,  and  our  religion,  demands  the  most  solemn  and 
effectual  inquiry.  And  I  again  call  upon  your  Lordships,  and  the 
united  powers  of  the  state,  to  examine  it  thoroughly  and  decisively, 
and  to  stamp  upon  it  an  indelible  stigma  of  the  public  abhorrence. 
And  I  again  implore  those  holy  prelates  of  our  religion  to  do  away 
these  iniquities  from  among  us.  Let  them  perform  a  lustration ;  let 
them  purify  this  House  and  this  country  from  this  sin. 

My  Lords,  I  am  old  and  weak,  and  at  present  unable  to  say 
more ;  but  my  feelings  and  m.y  indignation  were  too  strong  to  have 
said  less.  I  could  not  have  slept  this  night  in  my  bed,  or  have 
reposed  my  head  on  my  pillow,  without  giving  this  vent  to  my 
eternal  abhorrence  of  such  preposterous  and  enormous  principles. 


SECTION  VII.    PECTORAL  QUALITY 

The  Pectoral  is  a  deep,  hollow,  sepulchral  Quality,  with  the 
resonance  in  the  lower  part  of  the  chest.  Under  the  emotion 
appropriate  to  this  Quality  the  glottis  is  opened  as  wide  as  will 
admit  of  vocalization,  the  larynx  is  lowered,  and  the  reenforcing 
vibrations  are  confined  to  the  spongy  cavities  of  the  lungs,  pro- 
ducing a  veiled,  hollow,  half-whispered  chest  tone.  It  is  heard 
in  nature  in  the  deepest  groan  of  sorrow,  the  apprehensive 


PECTORAL   QUALITY  99 

tones  of  dread  or  horror,  the  most  solemn  utterances  of  spir- 
itual devotion,  the  lowest  notes  of  a  large  pipe  organ,  and  in 
the  rumbling  sounds  of  an  earthquake  or  an  active  volcano. 
It  is  never  used  except  under  the  influence  of  the  strongest 
emotions,  and  belongs  distinctly  to  the  Emotive  division  of 
the  triune  nature.  In  expression  it  is  the  language  of  deepest 
solemnity,  azoe,  veneration,  dread,  amazement,  and  horror. 

Selection  illustrating  Pectoral. 

Note.  In  the  scene  used  to  illustrate  this  element,  the  student 
should  note  the  words  and  phrases  most  expressive  of  amazement 
and  horror,  and  color  them  with  Pectoral  in  expression.  We  have 
underscored  a  few  such  in  the  beginning. 

THE   DAGGER   SCENE   FROM   "MACBETH" 
William  Shakespeare 

MacbetJi.    Go  bid  thy  mistress,  when  my  drink  is  ready, 

She  strike  upon  the  bell.    Get  thee  to  bed. —  {Exit  Servant. 
-   Is  this  a  dagger  which  I  see  before  me. 

The  handle  toward  my  hand .?-  Come,  let  me  clutch  thee  :  — 

I  have  thee  not,  and  yet  I  see  thee  still.  1 

Art  thou  not,  fatal  vision,  sensible 

To  feeling  as  to  sight .?  lor  art  thou  but 

A  dagger  of  the  mind,  a  false  creation, 

Proceeding  from  the  heat-oppressed  brain  ?  ] 
i  I  see  thee  yet,  in  form  as  palpable 

As  this  which  now  I  draw.  ' 

Thou  marshall'st  me  the  way  that  I  was  going; 

And  such  an  instrument  I  was  to  use. 

Mine  eyes  are  made  the  fools  o'  the  other  senses. 

Or  else  worth  all  the  rest.  )  I  see  thee  still,  — 

And  on  thy  blade  and  dudgeon  gouts  of  blood. 

Which  was  not  so  before.^  There's  no  such  thing: 

It  is  the  bloody  business  which  informs 

Thus  to  mine  eyes.    Now  o'er  the  one  half-world 

Nature  seems  dead,  and  wicked  dreams  abuse 


lOO  ESSENTIALS   OF    PUBLIC   SPEAKING 

The  curtain'd  sleep  ;)  now  witchcraft  celebrates 

Pale  Hecate"s  offerings,  and  wither'd  murder, 

Alarum'd  by  his  sentinel,  the  wolf. 

Whose  howl's  his  watch,  thus  with  his  stealthy  pace, 

With  Tarquin's  ravishing  strides,  towards  his  design 

Moves  like  a  ghost.'  Thou  sure  and  firm-set  earth, 

Hear  not  my  steps,  which  way  they  walk,  for  fear 

The  verj-  stones  prate  of  my  whereabout, 

And  take  the  present  horror  from  the  time, 

Which  now  suits  with  it.,  Whiles  I  threat,  he  lives: 

Words  to  the  heat  of  deeds  too  cold  breath  gives. 

[A  bell  rings. 
I  go,  and  it  is  done  ;  the  bell  invites  me. 
Hear  it  not,  Duncan ;  for  it  is  a  knell 
That  summons  thee  to  heaven  or  to  hell. 


SECTION  VIII.    ASPIRATE  QUALITY 

The  Aspirate  is  a  hissing,  breathy,  whispered  Quality,  the 
resonance  of  which  varies  somewhat  according  to  the  position 
in  which  the  vocal  organs  and  resonant  cavities  are  held.  It  is 
heard  in  the  secret  whisper  of  all  peoples,  the  escape  of  steam, 
and  the  hissing  soimd  of  the  volcano  in  eruption.  As  a  distinct 
Quality  it  is  the  unvocalized  whisper  which  may  be  given  in 
different  degrees  of  intensity,  in  which  case  the  resonance  is 
confined  to  the  cavities  of  the  mouth.  But  the  Aspirate,  when 
partly  vocalized,  may  combine  with  and  color  the  tone  and 
expression  of  all  the  other  Qualities,  which  gives  it  a  wide  range 
of  resonance  and  significance.  For  example,  the  resonance  of 
an  aspirated  Normal  would  be  in  the  back  part  of  the  mouth, 
that  of  an  aspirated  Orotund  in  the  chest,  and  that  of  the 
aspirated  Guttural  in  the  upper  part  of  the  throat.  This  aspi- 
ration of  any  given  Quality  always  adds  to  the  emotive  signifi- 
cance of  that  Quality ;  it  is  the  intensity  of  the  emotion  that 
forces  out  more  breath  than  can  be  vocalized,  thus  producing 


ASPIRATE   QUALITY  lOI 

aspiration.  This  Quality,  then,  plainly  belongs  to  the  Emotive 
class.  Its  use  in  elocution  ranges  from  the  gentlest  whisper 
expressing  the  merest  secrecy  or  caution  to  the  intensest  fear, 
terror,  or  consternation. 

Selection  illustrating  the  Aspirate. 

Note.  An  appreciation  of  the  secrecy  and  intense  fear  portrayed  in 
the  following  selection  will  enable  the  student  to  apply  the  Aspirate 
Quality  in  expression  throughout  the  scene. 

THE   MURDER  SCENE   FROM  "MACBETH" 
William  Shakespeare 

Lady  Macbeth.    That  which  hath  made  them  drunk  hath  made 
me  bold  ; 
What  hath  quench"d  them  hath  given  me  fire.     Hark  !    Peace  ! 
It  was  the  owl  that  shrieked,  the  fatal  bellman, 
Which  gives  the  stern'st  good-night.     He  is  about  it : 
The  doors  are  open ;  and  the  surfeited  grooms 
Do  mock  their  charge  with  snores :   I've  drugg'd  their  possets, 
That  death  and  nature  do  contend  about  them, 
Whether  they  live  or  die. 

Macbeth.    \]Mthin'\    Who's  there  ?  what,  ho  ! 

Lady  M.    Alack,  I  am  afraid  they  have  awaked. 
And  'tis  not  done.    Th'  attempt  and  not  the  deed 
Confounds  us.    Hark  !     I  laid  their  daggers  ready  ; 
He  could  not  miss  'em.    Had  he  not  resembled 
My  father  as  he  slept,  I  had  done't.     My  husband  ! 

Enter  Macbeth 

Macb.    I  have  done  the  deed  !     Didst  thou  not  hear  a  noise  ? 
Lady  M.    I  heard  the  owl  scream  and  the  crickets  cry. 
Did  not  you  speak  ? 
Macb.    When? 
Lady  M.    Now. 
Macb.    As  I  descended  ? 
Lady  M.    Ay. 


I02  ESSENTIALS   OF   PUBLIC   SPEAKING 

Macb.    Hark  !    Who  lies  i'  the  second  chamber  ? 
.  Lady  M.    Donalbain. 

Macb.    This  is  a  sorry  sight.    [Looking  on  liis  hands. 

Lady  M.    A  fooHsh  thought,  to  say  a  sorry  sight. 

Macb.  There's  one  did  laugh  in's  sleep,  and  one  cried  "  Murder!' 
That  they  did  wake  each  other:   I  stood  and  heard  them: 
But  they  did  say  their  prayers,  and  address'd  them 
Again  to  .sleep. 

Lady  M.  There  are  two  lodg'd  together. 

Macb.    One  cried  "God  bless  us !"  and  "Amen !""  the  other; 
As  they  had  seen  me,  with  these  hangman's  hands. 
Listening  their  fear,  I  could  not  say  "Amen," 
When  they  did  say  "God  bless  us!" 

Lady  M.  Consider  it  not  so  deeply. 

Macb.    But  wherefore  could  not  I  pronounce  "Amen"? 
I  had  most  need  of  blessing,  and  "Amen"' 
Stuck  in  my  throat. 

Lady  M.  These  deeds  must  not  be  thought 

After  these  ways  ;  so,  it  will  make  us  mad. 

Macb.    Methought  I  heard  a  voice  cry  "Sleep  no  more  ! 
Macbeth  does  murder  sleep,"  the  innocent  sleep. 
Sleep  that  knits  up  the  ravell'd  sleave  of  care, 
The  death  of  each  day's  life,  sore  labour's  bath. 
Balm  of  hurt  minds,  great  nature's  second  course, 
Chief  nourisher  in  life's  feast,  — 

Lady  J/.  What  do  you  mean  ? 

Macb.    Still  it  cried  "Sleep  no  more!"  to  all  the  house: 
"Glamis  hath  murder'd  sleep,  and  therefore  Cawdor 
Shall  sleep  no  more  ;  Macbeth  shall  sleep  no  more  !" 

Lady  M.   Who  was  it  that  thus  cried  ?    Why,  worthy  thane, 
You  do  unbend  your  noble  strength,  to  think 
So  brainsickly  of  things.    Go  get  some  water. 
And  wash  this  filthy  witness  from  your  hand. 
Why  did  you  bring  these  daggers  from  the  place  ? 
They  must  lie  there  :  go  carry  them,  and  smear 
The  sleepy  grooms  with  blood. 

Macb.  I'll  go  no  more : 


ASPIRATE   QUALITY  103 

I  am  afraid  to  think  what  I  have  done  ; 
Look  on 't  again  I  dare  not. 

Lady  M.  Infimi  of  purpose  ! 

Give  me  the  daggers :   the  sleeping  and  the  dead 
Are  but  as  pictures:  'tis  the  eye  of  childhood 
That  fears  a  painted  devil.    If  he  do  bleed, 
I'll  gild  the  faces  of  the  grooms  withal : 
For  it  must  seem  their  guilt.    \^Exit.   Knockiiis^  luithin. 

Macb.  \Vhence  is  that  knocking? 

How  is"t  with  me,  when  every  noise  appals  me  ? 
What  hands  are  here  ?  ha  !  they  pluck  out  mine  eyes. 
Will  all  great  Neptune's  ocean  wash  this  blood 
Clean  from  my  hand  ?    No,  this  my  hand  will  rather 
The  multitudinous  seas  incarnadine. 
Making  the  green  one  red. 

Re-enter  Lady  Macbeth 

Lady  J/.    M}'  hands  are  of  your  colour ;  but  I  shame 
To  wear  a  heart  so  white.    [^Knocking  wilhi/i.']    I  hear  a  knocking 
At  the  south  entry  :  retire  we  to  our  chamber : 
A  little  water  clears  us  of  this  deed  : 
How  easy  is  it,  then  !    Your  constancy 
Hath    left    you    unattended.     [Knocking   ivitJiin.']     Hark !    more 

'knocking : 
Get  on  your  night-gown,  lest  occasion  call  us, 
And  show  us  to  be  watchers.    Be  not  lost 
So  poorly  in  your  thoughts. 

Macb.  To  know  my  deed,  'twere  best  not  know  myself.  [Knock. 
Wake  Duncan  with  thy  knocking!    I  would  thou  couldst ! 

[Exeunt. 

SECTION  IX.    SUMMARY  AND  VOCAL  CULTURE 

While  the  student  of  vocal  culture  must  make  each  Quality 
separate  and  distinct  as  a  discipline  of  the  voice  he  must 
remember  that  there  are  blends  and  shadings  of  Quality  in 
expression    to   meet   the    demands   of    varving    thoughts    and 


I04  ESSENTIALS   OF  PUBLIC  SPEAKING 

emotions.  For  example,  the  Oral  may  shade  into  the  Normal, 
the  Normal  into  the  Orotund,  the  Orotund  into  the  Pectoral, 
and  the  Pectoral  into  the  Aspirate,  according  to  one's  concep- 
tion of  the  lines  to  be  interpreted.  In  like  manner  the  artist 
combines  his  colors  at  will  to  represent  on  canvas  his  ideals 
of  light,  shadow,  tint,  or  color ;  and  the  musician,  though  defi- 
nite and  exacting  in  his  technical  drill,  blends  his  tones  into 
harmonies  to  express  the  emotions  and  passions  of  his  soul. 

1.  Exercises. 

(i)  Practice  a,  e,  i,  6,  li,  in  alternating  notes  of  speech  in 
the  several  Qualities. 

(2)  Give  the  words  all,  arm,  our,  roar,  roll,  in  alternating 
notes  in  all  the  Qualities. 

(3)  Give  the  same  sounds  and  words  in  notes  of  song  in 
Normal  and  Orotund  Qualities  for  purity  and  strength  of  tone. 

2.  Select io)i  illustrating  Quality. 

Note.  This  extract  from  Quo  l^adis  contains  a  great  variety  of  emo- 
tion. The  student  should  analyze  it,  note  the  shades  of  feeling  portrayed, 
and  express  them  in  their  appropriate  qualities.  All  but  the  Oral,  the 
Nasal,  and  the  Falsetto  will  be  needed  in  its  interpretation. 

THE  ARENA  SCENE  FROM  "QUO  VADIS" 

Henryk  Sienkikwicz 

At  last  the  evening  arrived.  The  sight  was  in  truth  magnificent. 
All  that  was  powerful,  brilliant,  and  wealthy  in  Rome  was  there. 
The  lower  seats  were  crowded  with  togas  as  white  as  snow.  In  a 
gilded  podium  sat  Nero,  wearing  a  diamond  collar  and  a  golden 
crown  upon  his  head.  Every  eye  was  turned  with  strained  gaze  to 
the  place  where  the  unfortunate  lover  was  sitting.  He  was  exceed- 
ingly pale,  and  his  forehead  was  covered  with  drops  of  sweat.  To 
his  tortured  mind  came  the  thought  that  faith  of  it.self  would  spare 
Lygia.  Peter  had  said  that  faith  would  move  the  earth  to  its 
foundations.  He  crushed  doubt  in  him.self,  compressed  his  whole 
beinsr  into  the  sentence,  "I  believe,"  and  he  looked  for  a  miracle. 


SUMMARY  AND  VOCAL  CULTURE  105 

The  prefect  of  the  city  waved  a  red  handkerchief,  and  out  of 
the  dark  gully  into  the  brightly  lighted  arena  came  Ursus.  In 
Rome  there  was  no  lack  of  gladiators,  larger  by  far  than  the  com- 
mon measure  of  man ;  but  Roman  eyes  had  never  seen  the  like  of 
Ursus.  The  people  gazed  with  the  delight  of  experts  at  his  mighty 
limbs,  as  large  as  tree  trunks  ;  at  his  breast,  as  large  as  two  shields 
joined  together,  and  his  arms  of  a  Hercules.  He  was  unarmed, 
and  had  determined  to  die  as  became  a  follower  of  the  Lamb, 
peacefully  and  patiently.  Meanwhile  he  wished  to  pray  once  more 
to  the  Saviour.  So  he  knelt  on  the  arena,  joined  his  hands,  and 
raised  his  eyes  towards  the  stars.  This  act  displeased  the  crowd. 
They  had  had  enough  of  those  Christians,  who  died  like  sheep. 
They  understood  that  if  the  giant  would  not  defend  himself,  the 
spectacle  would  be  a  failure.  Here  and  there  hisses  were  heard. 
Some  began  to  cry  for  scourgers,  whose  office  it  was  to  lash  com- 
batants unwilling  to  fight.  But  soon  all  had  grown  silent,  for  no 
one  knew  what  was  waiting  for  the  giant,  nor  whether  he  would 
not  defend  himself  when  he  met  death  eye  to  eye. 

In  fact,  they  had  not  long  to  wait.  Suddenly  the  shrill  sound 
of  brazen  trumpets  was  heard,  and  at  that  signal  into  the  arena 
rushed,  amid  the  shouts  of  the  beast  keepers,  an  enormous  German 
aurochs,  bearing  on  his  head  the  naked  body  of  a  woman. 

Vinicius  sprang  to  his  feet. 

"  Lygia  !  Oh,  ...  I  believe  !  I  believe  !  Oh,  Christ,  a  miracle  ! 
a  miracle !  "  And  he  did  not  even  know  that  Petronius  had  covered 
his  head  at  that  moment  with  a  toga.  He  did  not  Ibok  ;  he  did  not 
see.  The  feeling  of  some  awful  emptiness  possessed  him.  In  his 
head  there  remained  not  a  thought.  His  lips  merely  repeated  as 
if  in  madness,  "  I  believe  !   I  believe  !   I  believe  !  " 

This  time  the  amphitheater  was  silent,  for  in  the  arena  some- 
thing uncommon  had  happened.  That  giant,  obedient  and  ready 
to  die,  when  he  saw  his  queen  on  the  horns  of  the  wild  beast, 
sprang  up,  as  if  touched  by  living  fire,  and,  bending  forward,  he 
ran  at  the  raging  animal. 

From  all  breasts  a  sudden  cry  of  amazement  was  heard,  as  the 
giant  fell  on  the  raging  bull  and  seized  him  by  the  horns.  And 
then  came  deep  silence.     All  breasts  ceased  to  breathe.     In  the 


I06  ESSENTIALS   OF   PUBLIC   SPEAKING 

amphitheater  a  fly  might  be  heard  on  the  wing.  People  could  not 
believe  their  own  eyes.  Since  Rome  was  Rome  no  one  had  ever 
seen  such  a  spectacle.  The  man's  feet  sank  in  the  sand  to  his 
ankle ;  his  back  was  bent  like  a  bow  ;  his  head  was  hidden  between 
his  shoulders  ;  on  his  arms  the  muscles  came  out  so  that  the  skin 
almost  burst  from  their  pressure  ;  but  he  had  stopped  the  bull  in 
his  tracks.  The  man  and  the  bull  remained  so  still  that  the  spec- 
tators thought  themselves  looking  at  a  group  hewn  in  stone.  But 
in  that  apparent  repose  there  was  a  tremendous  exertion  of  two 
struggling  forces.  The  bull's  feet,  as  well  as  the  man's,  sank  in 
the  sand,  and  the  dark,  shaggy  body  was  curved  so  that  it  seemed 
a  gigantic  ball.  Which  of  the  two  would  fail  first  .'^  Which  would 
fall  first  ? 

Meanwhile  a  dull  roar  resembling  a  groan  was  heard  from  the 
arena,  after  which  a  brief  shout  was  wrested  from  every  breast, 
and  again  there  was  silence,  Duller  and  duller,  hoarser  and  hoarser, 
more  and  more  painful  grew  the  groan  of  the  bull  as  it  mingled 
with  the  whistling  breath  from  the  breast  of  the  giant.  The  head 
of  the  beast  began  to  turn  in  the  iron  hands  of  the  barbarian,  and 
from  his  jaws  crept  forth  a  long,  foaming  tongue./A  moment  more 
and  to  the  ears  of  the  spectators  sitting  nearer  came,  as  it  were, 
the  crack  of  breaking  bones  ;  then  the  beast  rolled  on  the  earth, 
dead. 

The  giant  removed  in  a  twinkling  the  ropes  that  bound  the 
maiden  to  the  horns  of  the  bull.  His  face  was  very  pale  ;  he  stood 
as  if  only  half-conscious  ;  then  he  raised  his  eyes  and  looked  at 
the  spectators. 

The  amphitheater  had  gone  wild.  The  walls  of  the  building 
were  trembling  from  the  roar  of  tens  of  thousands  of  people. 

Everywhere  were  heard  cries  for  mercy,  passionate  and  persist- 
ent, which  soon  turned  into  one  unbroken  thunder. 

The  giant  understood  that  they  were  asking  for  his  life  and  lib- 
erty, but  his  thoughts  were  not  for  himself.  He  raised  the  uncon- 
scious maiden  in  his  arms,  and,  going  to  Nero's  podium,  held  her 
up  and  looked  up  imploringly. 

Vinicius  sprang  over  the  barrier,  which  separated  the  lower  seats 
from  the  arena,  and,  running  to  Lygia,  covered  her  with  his  toga. 


FORCE  107 

Then  he  tore  apart  the  tunic  on  his  breast,  laid  bare  the  scars 
left  by  wounds  received  in  the  Armenian  war,  and  stretched  out 
his  hands  to  the  multitude. 

At  this  the  enthusiasm  passed  everj-thing  ever  seen  in  a  circus 
before.  Voices  choking  with  tears  began  to  demand  merc3\  Yet 
Nero  halted  and  hesitated.  He  would  have  preferred  to  see  the 
giant  and  the  maiden  rent  by  the  horns  of  the  bull. 

Nero  was  alarmed.  He  understood  that  to  oppose  longer  was 
simply  dangerous.  A  disturbance  begun  in  the  circus  might  seize 
the  whole  city.  He  looked  once  more,  and,  seeing  everywhere 
frowning  brows,  excited  faces  and  eyes  fixed  on  him,  he  slowly 
raised  his  hand  and  gave  the  sign  for  mercy. 

Then  a  thunder  of  applause  broke  from  the  highest  seats  to  the 
lowest.  But  \'inicius  heard  it  not.  He  dropped  on  his  knees  in  the 
arena,  stretched  his  hands  toward  heaven  and  cried:  "  I  believe  ! 
Oh,  Christ !    I  believe  !   I  believe  !  " 


^v  CHAPTER  VII 

FORCE 


Force  is  the  power  or  energy  of  utterance.  It  relates  to  the 
manner,  the  amount,  and  the  location  of  energy  with  which 
sounds  are  sent  forth  from  the  vocal  organs.  It  must  not  be 
confused  with  loudness.  Figuratively  speaking  Force  is  the 
exploding  powder  behind  the  ball,  while  loudness  is  the  momen- 
tum or  carrying  power  of  the  projectile.  For  example,  we  may 
give  strong  Force  with  Aspirate  Quality  and  not  be  heard  very 
far,  while  a  moderate  degree  of  Force  with  a  pure  Normal 
Quality  would  fill  a  large  auditorium.  Loudness  is  force  i)lus 
vibration.  Force  has  three  specific  divisions,  —  (i)  Form, 
(2)  Degree,  and  (^t^)  Stress,  —  which  correspond  respectively 
to  the  Emotive,  Vital,  and  Mental  natures,  thus  : 

[Torm Emotive  ~ 

Force -{  Degree      ....     Vital         [-Man 
[Stress Mental 


I08  ESSENTIALS   OF  PUBLIC   SPEAKING 

SECTION  I.    FORM 

Form  is  the  manner  of  exerting  Force,  and  relates  to  the 
smoothness  or  abruptness  with  which  a  sound,  word,  or  syllable 
is  begun  and  ended.  The  manner  reveals  the  motive,  hence 
Form  represents  the  Emotive  nature.  There  are  three  Forms 
in  nature,  —  (i)  the  Effusive,  (2)  the  Expulsive,  and  (3)  the 
Explosive,  —  which  correspond  to  man's  triune  nature,  thus  : 

r  Effusive    ....     Emotive! 

Form  <  Expulsive      ...     .     Mental     )■  Maia 

[Explosive      .     .     .     Vital       j 

I.  Effusive  Form. 

The  Effusive  is  that  Form  of  voice  in  which  the  Force  is 
applied  smoothly  and  evenly,  so  that  the  sound  flows  forth  from 
the  vocal  organs  without  abruptness  either  in  the  opening  or  the 
closing.  It  is  heard  in  nature  in  the  moaning  of  the  wind,  the 
roar  of  the  cataract,  the  plaintive  notes  of  the  dove,  the  mourn- 
ful howl  of  a  dog,  the  moan  of  a  child,  the  sigh  of  pathos,  or 
the  groan  of  sorrow.  It  represents  the  Emotive  nature  of  man, 
and  is  used  to  express  his  more  serious  or  solemn  states  of  mind, 
such  di^  pathos,  sorrow,  reverence,  suppressed  fear,  awe,  etc. 

The  Effusive  may  be  given  in  notes  of  song  on  a  level  line 
of  pitch,  or  inflected  in  notes  of  speech  which  slide  up  and 
down  the  scale,  as  shown  by  the  accompanying  cuts.  To  acquire 
it  the  student  should  practice  on  the  continuant  sounds  and 
indefinite  syllables  in  notes  of  song  and  notes  of  speech. 

Effusive  Form,  Notes  of  Song  "^^ ^^^      -= — — - 

Effusive  Form,  Notes  of  Speech      //  \\ 

Illustrative  Selection. 

Note.  The  Effusive  Form  and  Long  Quantity  are  closely  associated. 
The  student  will  do  well  to  underscore  the  words  embodying  the  senti- 
ment of  the  selection,  and  give  Effusive  Form  in  Long  Quantity  on  the 


\ 


FORM  109 

indefinite  and  mutable  syllables  composing  those  words,  remembering 
always  that  the  other  words  should  be  given  in  the  ordinary  Expulsive 
Form. 

MY   SHIPS 
Ella  Wheeler  Wilcox 

If  all  the  ships  I  have  at  sea  — 
Should  come  a-sailing  home  to  me, 
Ah  well !  the  harbor  could  not  hold 
So  many  ships  as  there  would  be, 
If  all  my  ships  came  home  to  me. 

If  half  my  ships  now  out  at  sea 
Should  come  a-sailing  home  to  me, 
Ah  well !   I  should  have  wealth  as  great 
As  any  king  that  sits  in  state, 
So  rich  the  treasure  there  would  be 
In  half  my  ships  now  out  at  sea. 

If  but  one  ship  I  have  at  sea 

Should  come  a-sailing  home  to  me. 

Ah  well !  the  storm  clouds  then  might  frown. 

For  if  the  others  all  went  down. 

Still  rich  and  glad  and  proud  Pd  be. 

If  that  one  ship  came  home  to  me. 

If  that  one  ship  went  down  at  sea, 

And  all  the  others  came  to  me, 

Weighed  down  with  gems  and  wealth  untold. 

Of  riches,  glory,  honor,  gold. 

The  poorest  soul  on  earth  Pd  be, 

If  that  one  ship  came  not  to  me. 

Oh,  skies,  be  calm  !  oh,  winds,  blow  free  1 
Blow  all  my  ships  safe  home  to  me  ! 
But  if  thou  sendest  some  awrack. 
To  never  more  come  sailing  back, 
Send  any  —  all  that  skim  the  sea, 
But  send  my  love  ship  back  to  me. 


no  ESSENTIALS   OF   PUBLIC   SPEAKING 

2.  Expulsive  Form. 

The  Expulsive  is  that  Form  in  which  the  Force  is  appHed 
abruptly,  so  that  the  sound  rushes  forth  from  the  vocal  organs 
as  in  ordinary  speech.  It  is  heard  in  nature  in  the  babbhng 
brook,  the  chatter  of  birds,  the  prattle  of  children,  and  in  the 
common  conversation  of  all  peoples  in  all  languages.  It  re- 
presents the  jNIental  nature  of  man,  and  is  used  to  express 
his  ordinary  thoughts,  as  in  conversatmi,  narratiim,  didactic 
thought,  glad>iess  diwd  patriotisjn.  To  acquire  a  good  Expulsive 
Form  the  student  should  practice  the  vowel  sounds  in  notes 
of  song  and  notes  of  speech,  as  indicated  by  the  following 
figures',  and  read  aloud  with  clear  and  distinct  articulation  the 
following  illustrative  selection. 

Expulsive  Form,  Notes  of  Song  Cl::=>    (  ■ — 

Expulsive  Form,  Notes  of  Speech      (^       ^-~\ 

Illustrative  Select io7i. 

Note.  The  Expulsive  corresponds  to  the  Medium  Quantity  which 
should  be  given  on  all  words  not  demanding  a  prolongation  even  though 
they  are  composed  of  continuant  sounds.  In  other  words,  a  syllable 
should  not  be  unduly  prolonged  when  no  special  significance  is  impHed. 
It  is  very  important  to  be  able  to  read  in  a  natural,  colloquial  manner. 
The  following  selection  read  aloud  in  such  a  manner  will  prove  a  good 
exercise  for  Expulsive  Form. 

CHARACTER    OF  WASHINGTON  ^ 

Daniel  Webster 

America  has  furni.shed  to  the  world  the  character  of  Washing- 
ton !  And  if  our  American  institutions  had  done  nothing  else,  that 
alone  would  have  entitled  them  to  the  respect  of  mankind.  Wash- 
ington !  "  First  in  war,  first  in  peace,  and  first  in  the  hearts  of  his 
countrymen  !  "  Washington  is  all  our  own  !  The  enthusiastic 
veneration  and  regard  in  which  the  people  of  the  United  States 

1  From  the  Second  Bunker  Hill  Oration,  delivered  June  i;,  18^3. 


FORM  III 

hold  him,  prove  them  to  be  worth)'  of  such  a  countr}'man  ;  while 
his  reputation  abroad  reflects  the  highest  honor  on  his  countrj'.  I 
would  cheerfully  put  the  question  to-day  to  the  intelligence  of 
Europe  and  the  world,  What  character  of  the  century,  upon  the 
whole,  stands  out  in  the  relief  of  history,  most  pure,  most  respect- 
able, most  sublime ;  and  I  doubt  not,  that,  by  a  suffrage  approach- 
ing to  unanimit)',  the  answer  would  be,  Washington  ! 

The  structure  now  standing  before  us,  by  its  uprightness,  its 
solidity,  its  durability,  is  no  unfit  emblem  of  his  character.  His 
public  virtues  and  public  principles  were  as  firm  as  the  earth  on 
which  it  stands;  his  personal  motives,  as  pure  as  the  serene  heaven 
in  which  its  summit  is  lost.  But,  indeed,  though  a  fit,  it  is  an  inad- 
equate emblem.  Towering  high  above  the  column  which  our 
hands  have  builded,  beheld  not  by  the  inhabitants  of  a  single  city 
or  a  single  state,  but  by  all  the  families  of  man,  ascends  the 
colossal  grandeur  of  the  character  and  life  of  Washington.  In  all 
the  constituents  of  the  one,  in  all  the  acts  of  the  other,  in  all  its 
titles  to  immortal  love,  admiration,  and  renown,  it  is  an  American 
production.  It  is  the  embodiment  and  vindication  of  our  trans- 
atlantic liberty.  Born  upon  our  soil,  of  parents  also  born  upon  it ; 
never  for  a  moment  having  had  sight  of  the  Old  World  ;  instructed, 
according  to  the  modes  of  his  time,  only  in  the  spare,  plain,  but 
wholesome  elementary  knowledge  which  our  institutions  provide 
for  the  children  of  the  people ;  growing  up  beneath  and  penetrated 
by  the  genuine  influences  of  American  society ;  living  from  infancy 
to  manhood  and  age  amidst  our  expanding  but  not  luxurious 
civilization  ;  partaking  in  our  great  destiny  of  labor,  our  long  con- 
test with  unreclaimed  nature  and  uncivilized  man,  our  agony  of 
glory,  the  war  of  Independence,  our  great  victory  of  peace,  the 
formation  of  the  Union,  and  the  establishment  of  the  Constitution, 
—  he  is  all,  all  our  own  1  Washington  is  ours. 

I  claim  him  for  America.  In  all  the  perils,  in  every  darkened 
moment  of  the  state,  in  the  midst  of  the  reproaches  of  enemies 
and  the  misgivings  of  friends,  I  turn  to  that  transcendent  name 
for  courage  and  for  consolation.  To  him  who  denies  or  doubts 
whether  our  fervid  liberty  can  be  combined  with  law,  with  order, 
with  the  security  of  property,  with  the  pursuits  and  advancement 


112  ESSENTIALS   OF   PUBLIC   SPEAKING 

of  happiness  ;  to  him  who  denies  that  our  forms  of  government  are 
capable  of  producing  exaltation  of  soul  and  the  passion  of  true 
glory  ;  to  him  who  denies  that  we  have  contributed  anything  to 
the  stock  of  great  lessons  and  great  examples  ;  —  to  all  these  I 
reply  by  pointing  to  Washington  ! 

3.  Explosive  Form. 

The  Explosive  is  that  Form  in  which  the  Force  is  applied 
instantaneously,  causing  the  sound  to  burst  forth  in  a  very  abrupt 
and  intense  manner.  It  is  heard  in  the  crack  of  a  whip,  the 
stroke  of  a  hammer,  the  report  of  a  gun,  a  clap  of  thunder, 
a  shout  of  triumph,  and  in  the  ringing  laughter  of  children. 
Explosion  implies  the  action  of  strong  force ;  hence  this  Form 
represents  man's  Vital  nature.  It  is  used  to  express  those  in- 
tense emotions  in  which  physical  vitality  is  aroused,  such  as 
great  earnestness,  joy.,  defiance,  alarm,  terror,  violent  hate,  or 
rage.  To  acquire  a  strong  Explosive  Form  the  student  should 
practice  on  syllables  which  open  with  tonic  sounds,  as  all, 
our,  isle,  out,  and  on  immutable  syllables,  which  begin  with  the 
subtonics  b,  d,  and  g,  and  the  atonies/,  t,  and  k,  in  notes  of 
song  and  notes  of  speech,  as  indicated  in  the  following  illus- 
trative figures  : 

Explosive  Form,  Note  of  Song  D>   t^T  - 

Explosive  Form,  Note  of  Speech      [y     ^ 

Illustrative  Selection. 

Note.  The  Explosive  Form  corresponds  to  Short  Quantity,  though 
it  may  be  appropriately  given  with  longer  Quantity,  as  in  the  case  of  an 
excited  call,  a  cry  of  joy,  or  a  shout  of  triumph.  The  student  should 
remember  that,  even  in  sentiments  requiring  this  Form,  verj-  few  words 
are  to  be  given  in  the  Explosive.  In  the  following  selection  such  words 
as  "  Youngmen,  ahoy  !  "  "  Beware  !  "  given  in  Explosive  Form  would 
be  quite  sufficient  to  convey  the  intense  sentiment  of  the  piece.  In  all 
cases  the  Form  should  change  to  express  the  changing  sentiments  of 
the  selection. 


FORM  113 

THE   POWER    OF   HABIT 
John  B.  Gough 

I  remember  once  riding  from  Buffalo  to  the  Niagara  Falls.  I 
said  to  a  gentleman,  "  What  river  is  that,  sir  ?  " 

"  That,"  he  said,  "  is  Niagara  River." 

"Well,  it  is  a  beautiful  stream,"  said  I  ;  "bright  and  fair  and 
glassy.    How  far  off  are  the  rapids  ?" 

"  Only  a  mile  or  two,"  was  the  reply. 

"  Is  it  possible  that  only  a  mile  from  us  we  shall  find  the  water 
in  the  turbulence  which  it  must  show  near  the  falls  ?  " 

"  You  will  find  it  so,  sir."  And  so  I  did  find  it ;  and  the  first 
sight  of  Niagara  I  shall  never  forget. 

Now  launch  your  bark  on  that  Niagara  River ;  it  is  bright, 
smooth,  beautiful,  and  glassy.  There  is  a  ripple  at  the  bow  ;  the 
silver  wake  you  leave  behind  adds  to  your  enjoyment.  Down  the 
stream  you  ghde,  oars,  sails,  and  helm  in  proper  trim,  and  you  set 
out  on  your  pleasure  excursion. 

Suddenly  some  one  cries  out  from  the  bank,  "  Voting  men, 
ahoy  I " 

"  What  is  it .?  " 

'■'^The  rapids  are  beloiv  you.'''' 

"Ha!  ha  !  we  have  heard  of  the  rapids;  but  we  are  not  such 
fools  as  to  get  there.  If  we  go  too  fast,  then  we  shall  up  with  the 
helm,  and  steer  to  the  shore  ;  we  will  set  the  mast  in  the  socket, 
hoist  the  sail,  and  speed  to  the  land.  Then  on,  boys  ;  don't  be 
alarmed,  there  is  no  danger." 

"Young  men,  ahoy  there!" 

"  What  is  it  ?  " 

"  The  rapids  are  below  you." 

"  Ha  !  ha  !  we  will  laugh  and  quaff  ;  all  things  delight  us.  What 
care  we  for  the  future  !  No  man  ever  saw  it.  Sufficient  for  the  day 
is  the  evil  thereof.  We  will  enjoy  life  while  we  may  ;  we  will  catch 
pleasure  as  it  flies.  This  is  enjoyment  :  time  enough  to  steer  out 
of  danger  when  we  are  sailing  swiftly  with  the  current." 

"  Young  men,  ahoy  !  " 

"What  is  it?" 


114  ESSENTIALS   OF   PUBLIC   SPEAKING 

"  Beware  !  beware  !  the  rapids  are  below  you  !  " 
Now  you  see  the  water  foaming  all  around.  See  how  fast  you 
pass  that  point !  Up  with  the  helm  !  Now  turn  !  Pull  hard  !  Quick  I 
QUICK  !  QUICK  !  ptdl  hard  for  yotir  lives  /  pull  till  the  blood  starts 
from  your  nostrils,  and  the  veins  start  like  whipcords  upon  your 
brow  !  Set  the  mast  in  the  socket  !  hoist  the  sail !  ah  !  ah  !  it  is 
too  late  !    Shrieking,  howling,  blaspheming,  over  they  go. 

Thousands  go  over  the  rapids  of  intemperance  every  year 
through  the  power  of  habii,  crying  all  the  while,  "When  I  find 
out  that  it  is  injuring  me,  I  will  give  it  up  !  " 

4.  Combinations  of  Form  and  Quality. 

^Ve  have  now  had  three  vocal  elements  and  can  begin  to 
make  combinations  showing  the  more  delicate  shadings  of 
thought  and  emotion  as  each  Quality  is  modified  by  the  Form 
in  which  it  is  given.  For  the  special  guidance  of  the  student 
and  the  teacher,  and  without  entering  into  a  discussion  of  the 
philosophy  embodied,  we  subjoin  a  complete  table  of  the  com- 
binations of  Form  and  Quality  showing  the  appropriate  class 
of  sentiments  for  each  combination.  Because  of  its  importance 
in  the  work  of  analysis,  preparatory  to  expressive  reading  and 
speaking,  we  term  this  the  "  Multiplication  Table"  of  Elocution. 
It  should  be  thoroughly  committed  to  memory  for  ready  use 
in  the  analysis  of  any  selection,  and  faithfully  applied  in  the 
vocal  interpretation  of  it. 


"MULTIPLICATION  TABLE"  OF  ELOCUTION 

r  Effusive  Form  =  Solemnity,  tranquillity,  pathos. 

\  Expulsive    "      =  Narration,  didactic  thought,  gladness. 
Quahty       t.     ,     •  t       ,       1  , 

i^  Lxplosive    "      =  Joy,  laughter,  great  earnestness. 


Normal 


Orotund 
Quality 


Effusive       "      =  Reverence,  sublimity,  devotion. 
Expulsive    "      =  Grandeur,  patriotism,  lofty  oratory. 
Explosive    "      =  Courage,  defiance,  alarm. 


Oral  J  Effusive       "      =  Sickness,  feebleness,  idiocy. 

Quality    \  Expulsive    "      =  Timidity,  languor,  fatigue. 


Falsetto 


FORM  115 

{Effusive  "  =  Droll  pathos,  indifference,  laziness. 

Expulsive  "  =  Irony,  mimicry,  buffoonery. 

Explosive  "  =  A  sharp  taunt  or  snarl  of  contempt. 

r  Effusive  "  =  Senility,  whining,  whimpering. 

■I  Expulsive  "  =  Ecstatic  delight,  unrestrained  weeping. 

"               [Explosive  "  =  A  scream  of  joy,  fright,  or  pain. 

Guttural  J  Expulsive  "  =  Impatience,  scorn,  hate,  revenge. 

Quality   \  Explosive  "  =  Violent  hate,  anger,  or  rage. 

Pectoral  f  Effusive  "  =  Deepest  solemnity,  awe,  veneration. 

Quality   \  Expulsive  "  =  Dread,  amazement,  horror. 

f  Effusive  "  =  Stillness,  secrecy,  suppressed  fear, 

spira  el  ^        j^j^.g  „  _  Sudden  fear,  stealthiness,  secret  command. 


J  Expulsive    " 
Quality  1  ^  ^,     • 

(^Explosive    " 


Intense  fear,  terror,  consternation. 


5.  Vocal  Exercises. 

(i)  J^or  Effusive  Form.  Give  the  continuant  tonics,  a  in 
ale,  a  in  arm,  a  in  all,  e  in  eve,  and  0  in  old  with  notes  of  song 
in  all  the  Qualities  admitting  of  Effusive  Form.  Repeat  with 
notes  of  speech  in  alternate  rising  and  falling  inflections. 

(2)  For  Expulsive.  Give  all  the  above-named  continuant 
tonics  with  notes  of  song  in  all  the  Qualities.  Give  the  same  and 
their  illustrative  words  with  notes  of  speech  in  all  the  Qualities. 

(3)  For  Explosive.  Give  the  same  sounds  and  the  words 
all,  pull,  toll,  bell,  (long,  with  notes  of  song  in  Normal  and 
Orotund  Qualities.    Give  the  same  with  notes  of  speech. 

Note.  It  will  be  observed  that  the  drills  in  vocal  culture  are  made 
up  of  the  elements  of  expression.  It  is  suggested  that  the  student  keep 
in  mind  the  meaning  of  these  combinations  of  Forms  and  Qualities  even 
while  he  is  practicing  the  exercises,  and  thus  familiarize  himself  with  the 
"sound  and  sense"  while  tuning  the  vocal  organs  for  the  art  of  expres- 
sion.   To  this  end  he  will  find  the  above  table  of  combinations  helpful. 

Illustrative  selection  for  all  Forms. 

Note.  The  illustration  here  used  should  be  analyzed  by  the  student 
under  the  direction  of  the  teacher,  and  the  various  thoughts  and  emo- 
tions expressed  orally  in  their  appropriate  Forms. 


Il6  ESSENTIALS   OF   PUBLIC  SPEAKING 

A    HERO    OF    THE    FURNACE    ROOM 
Anonymous 

The  duty  of  the  boiler-makers  on  warships  is  of  the  most  danger- 
ous nature.  In  action,  between  actions,  and  out  of  action  the 
repairs  that  they  are  called  upon  at  a  moment's  notice  to  effect  are 
sufficient  to  send  a  chill  of  fear  through  the  hearts  of  most  men. 
They  will  creep  right  inside  a  boiler  or  furnace  which  had  but  a 
few  moments  before  been  full  of  boiling  liquid  or  red-hot  coals. 
They  will  screw  up  nuts  and  fasten  bolts  or  repair  leaking  pipes 
or  joints  in  places  that  other  men  would  consider  impossible  to 
approach.  While  the  ship's  big  guns  are  making  the  vessel  trem- 
ble, and  the  enemy's  shells  are  bursting  in  every  direction,  these 
men,  with  positively  reckless  fearlessness,  will  venture  down  into 
the  bowels  of  the  fighting  ship,  amid  roaring  machinery,  hissing 
steam,  and  flaming  fires,  to  rectify  an  accident  which,  unrepaired, 
might  send  the  ship  and  all  her  human  freight  to  the  bottom  more 
surely  and  more  quickly  than  shell  or  shot  from  the  best  guns  of 
the  enemy.    These  men  are  heroes. 

The  Cas/i/ie,  when  she  went  to  work  to  batter  the  walls  of  San 
Juan,  carried  on  board  three  of  these  boiler-makers.  Fish,  another, 
and  one  Huntley,  of  Norfolk,  Virginia.  The  Castine  went  into 
action  under  full  steam,  her  triple  screws  revolving  at  the  fullest 
speed,  and  her  battery  of  eight  guns  started  her  quivering  with 
excitement  and  the  fierce  delight  of  battle.  The  furnaces  were 
heated  almost  to  white  heat,  and  the  forced  draught  was  urging 
the  flames  to  greater  heat,  the  boiling  water  to  the  higher  produc- 
tion of  steam,  the  engines  to  increasing  revolutions.  Suddenly, 
without  expectation,  without  warning,  far  down  in  the  furnace  hole, 
unheard  by  officer  or  man,  amid  the  din  of  battle,  the  thundering 
reverberations  of  exploding  gunpowder,  there  arose  a  fierce  hiss- 
ing noise  right  inside  one  of  the  furnaces  ;  and  tho.se  who  heard  it 
trembled  as  no  guns  or  shot  or  shell  had  power  to  make  them 
tremble. 

A  socket  bolt  in  the  back  connection  at  the  very  farthest  inte- 
rior extremity  of  the  furnace  had  become  loose.  A  leak  had  been 
sprung  ;   the  steam  was  pouring  upon  the  fire,  threatening  in  a  few 


FORM  117 

moments  to  put  it  out  and  stop  the  progress  of  the  ship  if  it  did 
not  have  the  more  awful  effect  of  causing  a  terrible  explosion  and 
annihilation  ! 

The  faces  of  the  men  below,  in  that  moment  of  terrible  suspense, 
blanched  beneath  the  grime  that  covered  them.  None  knew  what 
to  do  save  wait  the  awful  coming  of  the  shock  the)'  knew  must  come. 

None .''  Nay,  but  there  was  one !  The  first  to  pull  himself 
together,  the  first  to  whom  returned  the  fear-driven  senses,  was 
Boiler-maker  Huntley.  His  name  does  not  appear  on  the  navy  list. 
Even  his  first  name  was  unknown  to  his  confrere^  Fish.  Only 
Boiler-maker  Huntley,  of  Norfolk,  Virginia;  but  that  is  enough, 
and  his  deed  should  be  sufficient  to  find  for  him  a  niche  in  the 
annals  of  fame  whenever  and  wherever  the  story  of  the  United 
States  and  her  navy  is  told. 

One  instant  of  startled  horror  —  then,  without  hesitation,  with- 
out trepidation,  with  stern-set  jaws  and  fierce,  devoted  determina- 
tion on  every  line  of  face  and  form  — 

"  Turn  off  the  force  draught !"'  he  cried. 

"  Goodness,  Huntley,  what  are  you  going  to  do  .'"' 

"  Bank  the  fire  !   Quick  !  " 

"  It's  certain  death  !  " 

"  For  one  —  unless,  for  all  !  Turn  off  the  draught !  Bank  the 
fire  !  "   The  orders  were  carried  out  feverishly. 

"  Now  a  plank  !  " 

And  before  they  could  stop  him  this  hero  had  flung  the  plank 
into  the  furnace,  right  on  top  of  the  black  coal  with  which  it  was 
banked,  and  had  himself  climbed  and  crawled  over  the  ragged 
mass,  far  back  to  where  the  steam  was  rushing  like  some  hissing 
devil  from  the  loosened  socket. 

For  three  minutes  he  remained  inside  that  fearful  place,  and 
then  the  work  was  done  —  the  ship  was  saved  —  and  his  friends 
drew  him  out  at  the  door.  The  force  draught  went  to  its  work 
again,  and  in  an  instant  the  furnace  was  once  more  raging. 

But  what  of  Huntley?  Scorched,  scalded,  insensible,  well-nigh 
dead,  he  lay  upon  the  iron  floor  of  the  furnace  room,  while  around 
him  stood  his  mates  dousing  him  with  water,  and  using  every 
known  means  for  his  resuscitation.   He  did  not  die,  but  when  once 


ii8 


ESSENTIALS   OF   PUBLIC   SPEAKING 


more  he  opened  his  eyes,  and  was  able  to  be  carefully  lifted  into 
daylight,  there  arose  such  cheers  from  the  throats  of  those  dirty, 
grimy  mates  as  never  greeted  taking  of  city  or  sinking  of  fleet. 

The  story  is  briefly  chronicled  in  the  log  of  the  Castine,  and 
Huntley  simply  claims  that  he  "did  his  duty."  But  while  the 
United  States  remains  a  nation,  so  long  as  the  banner  bearing  the 
silver  stars  on  the  field  of  blue,  above  alternate  stripes  of  red  and 
white,  remains  the  symbol  of  purity,  bravery,  and  patriotism  to 
American  hearts  the  whole  world  over  ;  so  long,  when  her  heroes 
are  spoken  of,  one  name  should  never  be  omitted,  —  that  of  Boiler- 
maker Huntley,  of  Norfolk,  Virginia. 


SECTION  IL    DEGREE 

Degree  of  Force  in  Elocution  is  the  amount  of  power  with 
which  sounds  are  sent  forth  from  the  vocal  organs,  and  there- 
fore represents  the  vital  nature  of  man.  Though  this  is  a  very 
simple  element,  a  mastery  of  it  is  essential,  since  the  entire 
audience,  large  or  small,  must  at  least  hear  the  speaker  in  order 
to  understand  or  appreciate  his  speech. 

I.  Scale  of  Force. 

There  are  three  divisions  of  Degree,  —  (i)  Subdued,  {2) Mod- 
erate, and  (3)  Energetic,  which  may  be  further  divided,  each 
into  three  degrees  as  represented  in  the  following  diagram  : 

Subdued  Moderate  Energetic 

Effusive    Form 


Expulsive 


Form 


Explosive     Form 


The  first  degree  of  Subdued  P'orce  may  be  the  faintest  utter- 
ance audible  to  an  audience,  while  the  last  degree  of  Energetic 


ELEXiREE  119 

Force  may  represent  the  most  impassioned  emotion  of  the 
speaker.  This,  like  all  scales  in  Elocution,  is  not  absolute  but 
relative,  and  is  dependent  upon  (i)  the  individuality  of  the 
speaker,  {2)  the  acoustic  properties  of  the  auditoriutn,  and  (3) 
the  thought  or  emotion  to  be  expressed. 

(i)  Each  individual  has  a  natural  or  acquired  range  of  vocal 
strength  which  is  measured  by  his  own  scale  of  Degrees  of 
Force.  A  weak-voiced  person  should  not  strain  to  the  scale 
of  a  more  vital  speaker ;  nor  should  the  strong- voiced  speaker 
fall  into  the  habit  of  reducing  his  Force  to  a  weak,  timid 
utterance. 

(2)  Acoustic  conditions  are  dependent  first,  upon  the  size 
and  shape  of  the  auditorium,  and  second,  on  whether  or  not  it  is 
filled  with  an  audience.  The  speaker  must  at  the  start  observe 
the  size  of  his  auditorium  and  adjust  his  scale  accordingly.  He 
must  overcome  echo,  due  to  the  shape  of  the  room  and  to  its 
furnishings,  by  a  proper  scale  of  Degrees,  remembering  always 
to  adapt  his  scale  to  the  audience,  large  or  small. 

(3)  The  scale  thus  established,  the  speaker  must  remember 
that  the  different  Degrees  of  f^orce  express  differing  intensities 
of  thought  and  feeling.  These  may  be  determined  by  observing 
the  analogy  between  the  three  Forms  of  Force  and  the  three 
Degrees  of  Force  as  indicated  by  the  above  diagram.  To  illus- 
trate :  the  gentler  emotions,  such-  as  iitnidity,  tranquillity,  pa- 
thos, reverence,  or  veneration,  are  given  in  Subdued  or  Moderate 
Degrees;  those  states  of  mind  expressed  in  ordinary  conversa- 
tioti,  didactic  thought,  gladness,  patriotism,  amazement,  scorn, 
or  hate,  range  through  the  last  of  Subdued,  the  Moderate,  and 
a  part  of  Energetic  ;  while  the  more  intense  passions,  such  as 
ecstatic  joy,  defiance,  alarm,  terror,  or  rage,  require  the  strongest 
Degree  of  Moderate  and  the  Energetic  Degrees  of  Force.  By 
further  associating  Quality,  Form,  and  Degree  of  Force,  the 
student  may  easily  determine  the  proper  expression  of  all  the 
sentiments  he  may  wish  to  interpret. 


120  ESSENTIALS   OF   PUBLIC   SPEAKING 

2.  Illustrative  Selections. 

(i)  For  Subdued  Degree. 

Note.  While  Subdued  Force  is  in  general  appropriate  to  these  selec- 
tions, the  student  should  take  into  account  the  range  of  Subdued  and 
Moderate  explained  above,  and  change  those  Degrees  to  suit  the  senti- 
ments. Nothing  would  be  more  monotonous  than  to  use  one  Degree  of 
Force  through  an  entire  selection. 

CROSSING    THE    BAR 
Alfred  Lord  Tennyson 

Sunset  and  evening  star, 

And  one  clear  call  for  me  ! 
And  may  there  be  no  moaning  of  the  bar, 

When  I  put  out  to  sea. 

But  such  a  tide  as  moving  .seems  asleep, 

Too  full  for  sound  and  foam, 
When  that  which  drew  from  out  the  boundless  deep 

Turns  again  home. 

Twilight  and  evening  bell. 

And  after  that  the  dark  ! 
And  may  there  be  no  sadness  of  farewell, 

When  I  embark  ; 

For  tho'  from  out  our  bourne  of  Time  and  Place 

The  flood  may  bear  me  far, 
I  hope  to  see  my  Pilot  face  to  face 

When  I  have  crost  the  bar. 

THE   GRIEF   OF    OPHELIA 

William  Shakespeare 

O,  what  a  noble  mind  is  here  o'erthrown  1 

Th'  expectancy  and  rose  of  the  fair  State, 

The  gla.ss  of  fashion  and  the  mould  of  form, 

Th'  observed  of  all  observers,  —  quite,  quite  down  ! 

And  I,  of  ladies  most  deject  and  wretched, 


DEGREE  121 

That  sucked  the  honey  of  his  music  vows, 
Now  see  that  noble  and  most  sovereign  reason, 
Like  sweet  bells  jangled,  out  of  tune  and  harsh  ; 

O,  woe  is  me, 
T'  have  seen  what  I  have  seen,  see  what  I  see  ! 

(2)  For  Aloderate  Degree. 

Note.  Observe  the  range  as  well  as  the  limitation  of  Moderate 
Force,  and  vary  its  degrees  to  suit  the  demands  of  the  following  selec- 
tion. The  figure  (p.  118)  shows  that  all  three  of  the  Forms  may  be 
found  in  the  Moderate  Degree  of  Force. 

DEDICATION    OF   GETTYSBURG    CEMETERY 
Abraham  Lincoln 

Fourscore  and  seven  years  ago  our  fathers  brought  forth  upon 
this  continent  a  new  nation,  conceived  in  Liberty,  and  dedicated 
to  the  proposition  that  all  men  are  created  equal.  Now  we  are 
engaged  in  a  great  civil  war,  testing  whether  that  nation,  or  any 
nation  so  conceived  and  so  dedicated,  can  long  endure. 

We  are  met  on  a  great  battlefield  of  that  war.  We  have  met 
to  dedicate  a  portion  of  it  as  the  final  resting-place  of  those  who 
here  gave  their  lives  that  that  nation  might  live.  It  is  altogether 
fitting  and  proper  that  we  should  do  this.  But  in  a  larger  sense 
we  cannot  dedicate,  we  cannot  consecrate,  we  cannot  hallow  this 
ground.  The  brave  men,  living  and  dead,  who  struggled  here  have 
consecrated  it  far  beyond  our  power  to  add  or  detract.  The  world 
will  little  note,  nor  long  remember,  what  we  say  here  ;  but  it  can 
never  forget  what  they  did  here. 

It  is  for  us,  the  living,  rather  to  be  dedicated  to  the  unfinished 
work  that  they  have  thus  far  so  nobly  carried  on.  It  is  rather  for 
us  to  be  here  dedicated  to  the  great  task  remaining  before  us  ; 
that  from  these  honored  dead  we  take  increased  devotion  to  that 
cause  for  which  they  here  gave  the  last  full  measure  of  devotion  ; 
that  we  here  highly  resolve  that  these  dead  shall  not  have  died  in 
vain  ;  that  this  nation  shall,  under  God,  have  a  new  birth  of  free- 
dom, and  that  government  of  the  people,  by  the  people,  and  for 
the  people,  shall  not  perish  from  the  earth. 


122  ESSENTIALS   OF    PUBLIC   SPEAKING 

(3)  For  Energetic  Degree. 

Note.  But  a  few  words  given  in  the  strongest  Degree  of  Energetic 
Force  will  be  quite  sufficient  for  expressive  purposes.  The  extreme 
degrees  of  any  element  are  used  less  frequently  than  the  moderate 
ranges. 

THE   GARDEN    SCENE   FROM  "MARY    STUART" 
Schiller  :  Translated  by  Joseph  Mellish 

Mary  of  Scotland  pleads  with  Elizabeth,  Queen  of  England,  to  spare 
her  life;  failing  in  her  plea  she  gives  vent  to  fiercest  wrath. 

Elizabeth.  How,  my  Lords  ! 

Which  of  you  then  announced  to  me  a  prisoner 
Bow  'd  down  by  woe  ?    I  see  a  haughty  one, 
By  no  means  humbled  by  calamity. 

Mary.    Well,  be  it  so:  to  this  will  I  submit. — 
Farewell  hign  thought,  and  pride  of  noble  mind! 
I  will  forget  my  dignity,  and  all 
My  sufferings  ;   I  will  fall  before  her  feet, 
Who  hath  reduced  me  to  this  wretchedness.  — 
The  voice  of  Heaven  decides  for  you,  my  sister. 
Your  happy  brows  are  now  with  triumph  crown'd  ; 
I  bless  the  Power  Divine  which  thus  hath  raised  you: 
\_Kneeling']    But  in  your  turn  be  merciful,  my  sister ; 
Let  me  not  lie  before  you  thus  disgraced  : 
Stretch  forth  your  hand,  your  royal  hand,  to  raise 
Your  sister  from  the  depths  of  her  distress. 

Eliza.    You  are  where  it  becomes  you.  Lady  Stuart ; 
And  thankfully  I  prize  my  God's  protection, 
Who  hath  not  suffered  me  to  kneel  a  suppliant 
Thus  at  your  feet,  as  you  now  kneel  at  mine. 

Mary.    Think  on  all  earthly  things,  vicissitudes. 
O  !  there  are  gods  who  punish  haughty  pride : 
Respect  them,  honour  them,  the  dreadful  ones 
Who  thus  before  thy  feet  have  humbled  me! 
Before  these  strangers'  eyes,  dishonour  not 
Yourself  in  me  :  profane  not,  nor  disgrace 


DEGREE  123 

The  royal  blood  of  Tudor.    In  my  veins 
It  flows  as  pure  a  stream  as  in  your  own. 

0  !  for  God's  pity,  stand  not  so  estranged 
And  inaccessible,  like  some  tall  cliff, 
Which  the  poor  shipwreck'd  mariner  in  vain 
Struggles  to  seize,  and  labours  to  embrace. 

Eliza.    What  would  you  say  to  me,  my  Lady  Stuart.? 
You  wish'd  to  speak  with  me  ;  and  I,  forgetting 
The  Queen,  and  all  the  wrongs  I  have  sustain'd, 
Fulfil  the  pious  duty  of  the  sister. 
And  grant  the  boon  you  wish'd  for  of  my  presence. 
Yet  I,  in  yielding  to  the  generous  feelings 
Of  magnanimity,  expose  myself 
To  rightful  censure,  that  I  stoop  so  low  : 
For  well  you  know,  you  would  have  had  me  murder'd. 

Mary.    O  !  how  shall  I  begin?  O,  how  shnU  I 
So  artfully  arrange  my  cautious  words. 
That  they  may  touch,  yet  not  offend  your  heart  ? 

1  am  a  Queen,  like  you,  yet  you  have  held  me 
Confined  in  prison.    As  a  suppliant 

I  came  to  3'ou,  ^'&\.  you  in  me  insulted 

The  pious  use  of  hospitality  ; 

Slighting  in  me  the  holy  law  of  nations, 

Immured  me  in  a  dungeon,  tore  from  me 

My  friends  and  servants  ;  to  unseemly  want 

I  was  exposed,  and  hurried  to  the  bar 

Of  a  disgraceful,  insolent  tribunal. 

No  more  of  this  :  in  everlasting  silence 

Be  buried  all  the  cruelties  I  suffer'd  ! 

See,  I  will  throw  the  blame  of  all  on  fate  ; 

'Twas  not  your  fault,  no  more  than  it  was  mine  : 

An  evil  spirit  rose  from  the  abyss. 

To  kindle  in  our  hearts  the  flames  of  hate. 

By  which  our  tender  youth  had  been  divided : 

It  grew  with  us,  and  bad,  designing  men 

Fann'd  with  their  ready  breath  the  fatal  fire. 

Now  stand  we  face  to  face  :   now,  sister,  speak; 


124  ESSENTIALS   OF   PUBLIC   SPEAKING 

Name  but  my  crime,  I'll  fully  satisfy  you: 
Alas  !  had  you  vouchsafed  to  hear  me  then, 
When  I  so  earnest  sought  to  meet  your  eye, 
It  never  would  have  come  to  this,  nor  would, 
Here  in  this  mournful  place,  have  happen'd  now 
This  so  distressful,  this  so  mournful  meeting. 

Eliza.    My  better  stars  preserved  me.    I  was  warn'd, 
And  laid  not  to  my  breast  the  poisonous  adder ! 
Accuse  not  fate  !  your  own  deceitful  heart 
It  was,  the  wild  ambition  of  your  House. 
But  God  is  with  me,  and  the  haughty  foe 
Has  not  maintain'd  the  field.    The  blow  was  aim'd 
Full  at  my  head,  but  yours  it  is  which  falls ! 

Mary.    I'm  in  the  hand  of  Heaven.    You  never  will 
Exert  so  cruelly  the  power  it  gives  you. 

Eliza.    Who  shall  prevent  me  ?  Say,  did  not  your  uncle 
Set  all  the  Kings  of  Europe  the  example. 
How  to  conclude  a  peace  with  those  they  hate .'' 
Force  is  my  only  surety  ;  no  alliance 
Can  be  concluded  with  a  race  of  vipers. 

Majy.    O,  this  is  but  your  wretched,  dark  suspicion  ! 
For  you  have  constantly  regarded  me 
But  as  a  stranger,  and  an  enemy. 
Had  you  declared  me  heir  to  your  dominions. 
As  is  my  right,  then  gratitude  and  love 
In  me  had  fix'd,  for  you,  a  faithful  friend 
And  kinswoman. 

Eliza.  Your  friendship  is  abroad. 

Namej'^?/  my  successor!  The  treacherous  snare  ! 
That  in  my  life  you  might  seduce  my  people  ; 
And,  like  a  sly  Armida,  in  your  net 
Entangle  all  our  noble  English  youth; 
That  all  might  turn  to  the  new  rising  Sun, 
And  I  — 

Maty.    O  sister,  rule  your  realm  in  peace : 
I  give  up  every  claim  to  these  domains  : 
Alas  !   the  pinions  of  my  soul  are  lamed  ; 


DEGREE  125 

Greatness  entices  me  no  more  :  your  point 

Is  gain'd  ;  I  am  but  Mary's  shadow  now  ; 

My  noble  spirit  is  at  last  broke  down 

By  long  captivity :  you've  done  your  worst 

On  me  ;  you  have  destroy'd  me  in  my  bloom  ! 

Now  end  your  work,  my  sister  ;  speak  at  length 

The  word,  which  to  pronounce  has  brought  you  hither ; 

For  I  will  ne'er  believe  that  you  are  come 

To  mock  unfeelingly  your  hapless  victim. 

Pronounce  this  word  ;  say,  "  Mary,  you  are  free  : 

You  have  already  felt  my  power ;  learn  now 

To  honour  too  my  generosity." 

Say  this,  and  I  will  take  my  life,  will  take 

My  freedom,  as  a  present  from  3'our  hands. 

One  word  makes  all  undone  ;   I  wait  for  it : 

O,  let  it  not  be  needlessly  delay'd  : 

Woe  to  you,  if  j'ou  end  not  with  this  word  ! 

For,  should  you  not,  like  some  divinity 

Dispensing  noble  blessings,  quit  me  now, 

Then,  sister,  not  for  all  this  island's  wealth. 

For  all  the  realms  encircled  by  the  deep. 

Would  I  exchange  my  present  lot  for  yours. 

Eliza.    And  you  confess  at  last,  that  you  are  conquer'd. 
Are  all  your  schemes  run  out  ?  no  more  assassins 
Now  on  the  road  ?  will  no  adventurer 
Attempt  again,  for  you,  the  sad  achievement .? 
Yes,  madam,  it  is  over:  you'll  seduce 
No  mortal  more.    The  world  has  other  cares ; 
None  is  ambitious  of  the  dangerous  honour 
Of  being  your  fourth  husband  :  you  destroy 
Your  wooers  like  your  husbands. 

Afary.  Sister,  sister ! 

Grant  me  forbearance,  all  ye  powers  of  Heaven  ! 

Eliza.    Those  then,  my  Lord  of  Leicester,  are  the  charms 
Which  no  man  with  impunity  can  view. 
Near  which  no  woman  dare  attempt  to  stand  ? 
In  sooth,  this  honour  has  been  cheaply  gain'd  ; 


126  ESSENTIALS   OF  PUBLIC   SPEAKING 

She  who  to  all  is  common  may  with  ease 
Become  the  common  object  of  applause. 

Mary.    This  is  too  much  1 

Eliza.  You  show  us  now,  indeed, 

Your  real  face  ;   till  now  'twas  but  the  mask. 

Mary.    My  sins  were  human,  and  the  faults  of  youth  ; 
Superior  force  mislead  me.    I  have  never 
Denied  or  sought  to  hide  it  :   I  despi.sed 
All  false  appearance  as  became  a  Queen : 
The  worst  of  me  is  known,  and  I  can  say 
That  I  am  better  than  the  fame  I  bear. 
Woe  to  you  !  when,  in  time  to  come,  the  world 
Shall  draw  the  robe  of  honour  from  your  deeds. 
Virtue  was  not  your  portion  from  your  mother  ; 
Well  know  we  what  it  was  which  brought  the  head 
Of  Anna  Boleyn  to  the  fatal  block. 

Mary.  I've  supported 

What  human  nature  can  support  :  farewell. 
Lamb-hearted  resignation  !  passive  patience. 
Fly  to  thy  native  Heaven !  burst  at  length 
Thy  bonds,  come  forward  from  thy  dreary  cave. 
In  all  thy  fury,  long-suppressed  rancour! 
And  thou,  who  to  the  anger'd  basilisk 
Impart'st  the  murderous  glance,  O,  arm  my  tongue 
With  poison'd  darts  ! 

A  bastard  soils. 
Profanes  the  English  throne  !  The  generous  Britons 
Are  cheated  by  a  juggler,  whose  whole  figure 
Is  false  and  painted,  heart  as  well  as  face  ! 
If  right  prevailed,  you  now  would  in  the  dust 
Before  me  lie,  for  I'm  your  rightful  monarch  ! 

\^Elizabeth  Jiastily  quits  tJie  stage. 

Gone  hence  in  wrath  ! 
She  carries  death  within  her  heart !    I  know  it. 


DEGREE  127 

Now  I  am  happy !  and  at  last, 

After  whole  years  of  sorrow  and  abasement, 

One  moment  of  victorious  revenge  ! 

A  weight  falls  off  my  heart,  a  weight  of  mountains  ; 

I  plunged  the  steel  in  my  oppressor's  breast ! 

I  have  abased  her  before  Leicester's  eyes ; 
He  saw  it,  he  was  witness  of  my  triumph. 
How  I  did  hurl  her  from  her  haughty  height ! 
He  saw  it,  and  his  presence  strengthen'd  me. 

3,  Vocal  Culture  in  Degrees  of  Force. 

(i)  Give  the  sounds  o,  1,  a,  and  the  words,  "Mr.  President, 
Ladies  and  Gentlemen,"  in  all  the  Degrees  of  P'orce  suitable 
to  a  room  seating  twenty-five  persons  ;  give  the  same  in  a  scale 
for  an  audience  of  one  hundred,  five  hundred,  two  thousand, 
and  five  thousand  respectively. 

(2)  Give  sounds,  words,  and  sentences  in  Effusive  Form  in 
all  the  degrees  of  Subdued  and  Moderate  Force  in  a  room 
seating  five  hundred  people. 

(3)  Give  the  same  in  Expulsive  Form,  last  degree  of  Sub- 
dued, Moderate,  and  first  degree  of  Energetic  Force. 

(4)  Give  the  same  in  Explosive  Form  in  last  degree  of  Mod- 
erate and  all  the  degrees  of  Energetic  Force. 

(5)  Apply  the  scale  of  Force  to  each  Quality  in  Expulsive 
Form,  using  the  continuant  sounds  e,  00,  a. 

(6)  Give  a,  e,  1,  o,  ii,  through  all  Degrees  of  Force,  with  notes 
of  speech  alternating  in  rising  and  falling  inflections. 

The  student  should  vary  these  exercises  and  give  them 
according  to  his  strength  and  needs,  and  should  not  forget  the 
suggestions  (p.  12)  in  regard  to  the  mental  condition  implied 
in  the  tones  used. 

Selectioji  for  all  Degrees  of  Force. 

Note.  Here  the  student  has  opportunity  for  a  free  use  of  his  knowl- 
edge of  all  the  elements  thus  far  studied;  and  since  impression  must 


128  ESSENTIALS   OF   PUBLIC   SPEAKING 

come  before  expression  he  should  work  out  a  clear  conception  of  the 
thoughts,  emotions,  and  passions  of  the  whole  selection.  Conceptions 
of  teachers  and  students  will  differ  (and  herein  lies  a  great  charm  of 
the  study  of  elocution),  but  the  conception  once  determined  upon,  the 
laws  of  expression  are  definite  enough  to  test  the  skill  of  the  reader  or 
speaker  who  tries  to  give  that  conception  to  his  audience. 

MARY'S    NIGHT    RIDEi 
George  W.  Cable 

Mary  Richling,  the  heroine  of  the  story,  was  the  wife  of  John 
Richling,  a  resident  of  New  Orleans.  At  the  breaking  out  of  the 
Civil  War  she  went  to  visit  her  parents  in  Milwaukee.  About  the 
time  of  the  bombardment  of  New  Orleans  she  received  news  of 
the  dangerous  illness  of  her  husband,  and  she  decided  at  once  to 
reach  his  bedside,  if  possible.  Taking  with  her,  her  baby  daughter, 
a  child  of  three  years,  she  proceeded  southward,  where,  after  sev- 
eral unsuccessful  attempts  to  secure  a  pass,  she  finally  determined 
to  break  through  the  lines. 

About  the  middle  of  the  night  Mary  Richling  was  sitting  very 
still  and  upright  on  a  large,  dark  horse  that  stood  champing  his 
Mexican  bit  in  the  black  shadow  of  a  great  oak.  Alice  rested 
before  her,  fast  asleep  against  her  bosom.  Mary  held  by  the  bridle 
another  horse,  whose  naked  saddle-tree  was  empty.  A  few  steps 
in  front  of  her  the  light  of  the  full  moon  shone  almost  straight 
down  upon  a  narrow  road  that  just  there  emerged  from  the 
shadow  of  woods  on  either  side,  and  divided  into  a  main  right 
fork  and  a  much  smaller  one  that  curved  around  to  Mary's  left. 
Off  in  the  direction  of  the  main  fork  the  sky  was  all  aglow  with 
camp-fires.  Only  just  here  on  the  left  there  was  a  cool  and  grate- 
ful darkness. 

She  lifted  her  head  alertly.  A  twig  crackled  under  a  tread,  and 
the  next  moment  a  man  came  out  of  the  bushes  at  the  left,  and 
without  a  word  took  the  bridle  of  the  led  horse  from  her  fingers 
and  vaulted  into  the  saddle.  The  hand  that  rested  a  moment  on 
the  cantle  as  he  rose  grasped  a  "navy  six."     He  was  dressed  in 

1  From  Dr.  Sevier. 


DEGREE  129 

dull  homespun,  but  he  was  the  same  who  had  been  dressed  in  blue. 
He  turned  his  horse  and  led  the  way  down  the  lesser  road. 

•'  If  we'd  gone  on  three  hundred  yards  further,"  he  whispered, 
falling  back  and  smiling  broadly,  "  we'd  'a'  run  into  the  pickets. 
I  went  nigh  enough  to  see  the  videttes  settin'  on  their  bosses  in 
the  main  road.  This  here  ain't  no  road  ;  it  just  goes  up  to  a  nig- 
ger quarters.    I've  got  one  o'  the  niggers  to  show  us  the  way." 

"Where  is  he?"  whispered  Mary;  but  before  her  companion 
could  answer,  a  tattered  form  moved  from  behind  a  bush  a  little 
in  advance  and  started  ahead  in  the  path,  walking  and  beckoning. 
Presently  they  turned  into  a  clear,  open  forest,  and  followed  the 
long,  rapid,  swinging  stride  of  the  negro  for  nearly  an  hour.  Then 
they  halted  on  the  bank  of  a  deep,  narrow  stream.  The  negro 
made  a  motion  for  them  to  keep  well  to  the  right  when  they  should 
enter  the  water.  The  white  man  softly  lifted  Alice  to  his  arms, 
directed  and  assisted  Mary  to  kneel  in  her  saddle,  with  her  skirts 
gathered  carefully  under  her,  and  so  they  went  down  into  the  cold 
stream,  the  negro  first,  with  arms  outstretched  above  the  flood  ; 
then  Mary,  and  then  the  white  man,  —  or,  let  us  say  plainly,  the 
spy  —  with  the  unawakened  child  on  his  breast.  And  so  they  rose 
out  of  it  on  the  farther  side  without  a  shoe  or  garment  wet,  save 
the  rags  of  their  dark  guide. 

Again  they  followed  him,  along  a  line  of  stake-and-rider  fence, 
with  the  woods  on  one  side  and  the  bright  moonlight  flooding  a 
field  of  young  cotton  on  the  other.  Now  they  heard  the  distant 
baying  of  house-dogs,  now  the  doleful  call  of  the  chuck-will's- 
widow,  and  once  Mary's  blood  turned,  for  an  instant,  almost  to 
ice  at  the  unearthly  shriek  of  the  hoot-owl  just  above  her  head. 
At  length  they  found  themselves  in  a  dim,  narrow  road,  and  the 
negro  stopped. 

"  Dess  keep  dish  yeh  road  fo'  'bout  half  mile,  an'  you  strak 
'pon  de  broad,  main  road.  Tek  de  left,  an'  you  go  whah  yo'  fancy 
tek  you." 

"  Good-by,"  whispered  Mary. 

"  Good-by,  Miss,"  said  the  negro,  in  the  same  low  voice  ;  "good- 
by,  boss ;  don't  you  fo'git  you  promise  tek  me  thoo  to  de  Yankee' 
when  you  come  back.     I  'feered  you  gwine  fo'git  it,  boss." 


130  ESSENTIALS  OF  PUBLIC  SPEAKING 

The  spy  said  he  would  not,  and  they  left  him.  The  half  mile 
was  soon  passed,  though  it  turned  out  to  be  a  mile  and  a  half,  and 
at  length  Mary's  companion  looked  back,  as  they  rode  single  file 
with  Mary  in  the  rear,  and  said  softly : 

"  There's  the  road,"  pointing  at  its  broad,  pale  line  with  his 
six-shooter. 

As  they  entered  it  and  turned  to  the  left,  Mary,  with  Alice  again 
in  her  arms,  moved  somewhat  ahead  of  her  companion,  her  indif- 
ferent horsemanship  having  compelled  him  to  drop  back  to  avoid 
a  prickly  bush.  His  horse  was  just  quickening  his  pace  to  regain 
the  lost  position,  when  a  man  sprang  up  from  the  ground  on  the 
farther  side  of  the  highway,  snatched  a  carbine  from  the  earth  and 
cried,  "  Halt !  " 

The  dark  recumbent  forms  of  six  or  eight  others  could  be  seen,  en- 
veloped in  their  blankets,  lying  about  a  few  red  coals.  Mary  turned 
a  frightened  look  backward  and  met  the  eyes  of  her  companion. 

"  Move  a  little  faster,"  said  he,  in  a  low,  clear  voice.  As  she 
promptly  did  so  she  heard  him  answer  the  challenge,  as  his  horse 
trotted  sofdy  after  hers. 

"  Don't  stop  us,  my  friend  :  we're  taking  a  sick  child  to  the 
docter." 

"  Halt,  you  hound  ! "  the  cry  rang  out ;  and  as  Mary  glanced 
back  three  or  four  men  were  just  leaping  into  the  road.  But  she 
saw  also  her  companion,  his  face  suffused  with  an  earnestness  that 
was  almost  an  agony,  rise  in  his  stirrups  with  the  stoop  of  his 
shoulders  all  gone,  and  wildly  cry  : 
"Go!" 

She  smote  the  horse  and  flew.  Alice  woke  and  screamed. 
"  Hush,  my  darling,"  said  the  mother,  laying  on  the  withe  ; 
"  mamma's  here.  Hush,  darling,  mamma's  here.  Don't  be  fright- 
ened, darling  baby.  O  God,  spare  my  child  ! "  and  away  she  sped. 
The  report  of  a  carbine  rang  out  and  went  rolling  away  in  a 
thousand  echoes  through  the  wood.  Two  others  followed  in  sharp 
succession,  and  there  went  close  by  Mary's  ear  the  waspish  whine 
of  a  minie-ball.  At  the  same  moment  she  recognized,  once, — 
twice,  —  thrice, — just  at  her  back  \vhere  the  hoofs  of  her  com- 
panion's horse  were  clattering  — the  tart  rejoinders  of  his  navy  six. 


STRESS  131 

"Go!"  he  cried  again.  "Lay  low!  lay  low!  cover  the  child!" 
But  his  words  were  needless.  With  head  bowed  forward  and 
form  crouched  over  the  crying,  clinging  child,  with  slackened 
rein  and  fluttering  dress,  and  sun-bonnet  and  loosened  hair 
blown  back  upon  her  shoulders,  with  lips  compressed  and  silent 
prayers,  Mary  was  riding  for  life  and  liberty  and  her  husband's 
bedside. 

"  Go  on  !  Go  on  ! "  cried  the  voice  behind  ;  "  they're  —  saddling 
up !  Go  !  go  !  We're  goin'  to  make  it !  We're  goin'  to  make  it ! 
Go-0-0 !  ■' 

And  they  made  it ! 


SECTION  III.    STRESS 

Stress  is  the  location  of  the  strongest  portion  of  a  given 
degree  of  Force  upon  a  certain  part  of  the  sound  or  syllable. 
A  shifting  of  this  location  changes  the  sense  of  the  phrase. 
To  illustrate  :  if,  in  answering  a  direct  question,  the  word  "  no  " 
be  given  with  the  main  Force  on  the  first  part  of  that  mono- 
syllable, it  is  a  simple  negative  answer  ;  now-  place  the  strongest 
Force  on  the  last  part  of  the  word  and  the  impression  of 
determination  or  impatience  is  given  ;  place  it  upon  the  first 
and  last  parts  and  it  becomes  irony  or  sarcasm ;  with  the 
strength  applied  to  the  middle  of  the  word  it  becomes  pathetic 
or  mournful ;  give  the  same  Force  throughout  and  it  means  a 
call;  and  finally,  if  the  Force  be  applied  tremulously,  the 
utterance  shows  feebleness  or  agitation.  It  is  evident  that 
each  change  of  the  location  of  Force  adds  a  new  significance 
to  the  word  "no."  These  illustrations  prove  our  proposition; 
and  accepting  it  as  a  fact,  we  must  know  exactly  the  signifi- 
cance of  each  Stress  and  be  guided  by  that  knowledge  in  our 
study  of  expression.  Broadly  speaking.  Stress  belongs  to  the 
Mental  Nature,  but  its  varieties  and  kinds  represent  all  three 
of  the  natures  of  man. 


132  ESSENTIALS   OF   PUBLIC   SPEAKING 

There  are  six  Stresses, —  (i)  Radical,  (2)  Final,  (3)  Com- 
pound, (4)  Media?i,  (5)  Thorough,  and  (6)  Intennittent.  Their 
relation  to  the  Triune  Nature  is  shown  as  follows  : 


Radical. 

.Mental 

Compound,.---''" 

Stress (    Median......:-:.>„Emotive   -^^^^ 

Final..--'''' 

Tliorough  __ll:r:  =  ^ital 

Intermittent--'' 


I.  Radical  Stress. 

The  Radical  is  that  Stress  in  which  the  Force  is  applied 
strongest  on  the  first  part  of  the  sound,  syllable,  or  word,  as 
shown  in  the  following  cuts  : 


I   (____^!Z^:=- Expulsive 

Radical  <    ^___^^ 

I  ~^^lr:>- Explosive 


It  is  heard  in  the  tick  of  a  clock,  the  tap  of  a  drum,  the 
clapping  of  hands,  the  report  of  a  gun,  and  in  animated  con- 
versation. It  is  the  ordinary  Stress  which  conveys  the  meaning 
of  the  language,  while  each  of  the  other  Stresses  conveys  some 
special  emotion  or  gives  vitality  to  specially  emphatic  words ; 
it  therefore  belongs  to  the  Mental  division  of  Man's  Triune 
Nature.  It  is  given  with  the  Expulsive  and  Explosive  Forms, 
and  is  used  to  express  narration,  joy,  patriotism,  courage, 
hate,  anger,  or  dread,  according  to  the  Quality  of  voice  in 
which  it  is  given. 

The  Radical  Stress  gives  clearness  and  brilliancy  to  vocal 
utterance  ;  it  gives  a  clean-cut  edge  to  words,  makes  them 
penetrate  space  and  fall  with  precision  and  force  upon  the  ear 
of  the  audience.  It  is  the  most  commonly  used  of  the  Stresses, 
and  l)y  its  definiteness  and  clearness  in  impressing  the  ear  it 
adds  great  charm  to  conversation  and  to  public  speech. 


STRESS  133 

Illustrative  Selection. 

Note.  In  reading  the  following  selection  the  students  should  make 
clean-cut,  definite  strokes  of  voice  at  the  beginning  of  the  accented 
syllables  throughout.  As  Radical  is  the  Stress  most  frequently  used, 
it  should  be  practiced  assiduously. 

HAMLET'S    ADVICE    TO    THE    PLAYERS 
William  Shakespeare 

Speak  the  speech,  I  pray  you,  as  I  pronounced  it  to  you,  trip- 
pingly on  the  tongue  :  but  if  you  mouth  it,  as  many  of  our  players 
do,  I  had  as  lief  the  town-crier  spoke  my  lines.  Nor  do  not  saw 
the  air  too  much  with  your  hand,  thus,  but  use  all  gently  ;  for  in 
the  very  torrent,  tempest,  and,  as  I  may  say,  whirlwind  of  your 
passion,  you  must  acquire  and  beget  a  temperance  that  may  give 
it  smoothness.  O,  it  offends  me  to  the  soul  to  hear  a  robustious 
periwig-pated  fellow  tear  a  passion  to  tatters,  to  very  rags,  to  split 
the  ears  of  the  groundlings,  who  for  the  most  part  are  capable  of 
nothing  but  inexplicable  dumb-shows  and  noise :  I  would  have 
such  a  fellow  whipped  for  o'erdoing  Termagant ;  it  out-Herods 
Herod  :  pray  you,  avoid  it. 

Be  not  too  tame  neither,  but  let  your  own  discretion  be  your 
tutor :  suit  the  action  to  the  word,  the  word  to  the  action  ;  with 
this  special  observance,  that  you  o'erstep  not  the  modesty  of 
nature  :  for  any  thing  so  overdone  is  from  the  purpose  of  playing, 
whose  end,  both  at  the  first  and  now,  was  and  is,  to  hold,  as 
'twere,  the  mirror  up  to  nature;  to  show  virtue  her  own  feature, 
scorn  her  own  image,  and  the  very  age  and  body  of  the  time  his 
form  and  pressure.  Now  this  overdone  or  come  tardy  off,  though 
it  make  the  unskilful  laugh,  cannot  but  make  the  judicious  grieve  ; 
the  censure  of  the  which  one  must  in  your  allowance  o'erweigh  a 
whole  theatre  of  others.  O,  there  be  players  that  I  have  seen 
play,  and  heard  others  praise,  and  that  highly,  not  to  speak  it  pro- 
fanely, that,  neither  having  the  accent  of  Christians  nor  the  gait 
of  Christian,  pagan,  nor  man,  have  so  strutted  and  bellowed  that  I 
have  thought  some  of  nature's  journeymen  had  made  men  and 
not  made  them  well,  they  imitated  humanity  so  abominably. 


134      '     ESSENTIALS   OF  PUBLIC  SPEAKING 

2.  Final  Stress. 

The  Final  is  that  Stress  in  which  the  Force  is  applied  more 
strongly  to  the  last  part  of  the  sound,  syllable,  or  word,  as  indi- 
cated by  the  following  cuts  : 

{•=cr!II[||7^    J Expulsive 
-=c::;;;;3|[[^^^^ Explosive 

It  is  heard  in  a  sneeze,  a  hiccough,  in  the  premonitory 
growl  and  angry  snap  of  a  dog,  in  the  scoff  of  disgust,  or  in 
the  determined  tones  of  a  resolute,  self-willed  person.  It  is 
one  of  the  pivotal  Stresses,  and  represents  about  equally  the 
Mental  and  Emotive  Natures  of  Man,  when  the  thought  has  a 
very  determined,  self-assertive,  or  insistent  motive  impelling  its 
utterance.  It  is  given  only  with  the  Expulsive  and  Explosive 
Forms  of  Voice,  as  shown  in  the  above  cuts,  and  is  used  to 
express  determination,  defiance,  peevishness,  snarling,  fright, 
revenge,  amazement,  or  terror  according  to  the  Quality  in 
which  it  is  given. 

Illustrative  Selection. 

Note.  In  the  following  selection  certain  words,  a  few  of  which  we 
have  underscored,  show  great  determination  and  firm  resolve.  Such 
words  should  be  read  with  the  Final  Stress,  which  gives  an  expression 
of  firmness  and  insistency. 

HENRY  V   TO    HIS    TROOPS 

William  Shakespeare 

Once  more  into  the  breach,  dear  friends,  once  more  ; 

Or  close  the  wall  up  with  our  English  dead. 

In  peace  there's  nothing  so  becomes  a  man 

As  modest  stillness  and  humility: 

But  when  the  blast  of  war  blows  in  our  ears, 

Then  imitate  the  action  of  the  tiger; 

Stiffen  the  sinews,  summon  up  the  blood, 


STRESS  *      135 

Disguise  fair  nature  with  liard-favour'd  rage  ; 

Tlien  lend  tlie  eye  a  terrible  aspect ; 

Let  it  pry  through  the  portage  of  the  head 

Like  the  brass  canon  ;  let  the  brow  o'erwhelm  it, 

As  fearfully  as  doth  a  galled  rock 

O'erhang  and  jutty  his  confounded  base, 

Swill'd  with  the  wild  and  wasteful  ocean. 

Now  set  the  teeth  and  stretch  the  nostril  wide, 

Hold  hard  the  breath  and  bend  up  every  spirit 

To  his  full  height.    On,  on,  you  noble  Engli.sh, 

Whose  blood  is  fet  from  fathers  of  war-proof ! 

Fathers  that,  like  so  many  Alexanders, 

Have  in  these  parts  from  morn  till  even  fought 

And  sheathed  their  swords  for  lack  of  argument : 

Dishonour  not  your  mothers  ;  now  attest 

That  those  whom  you  call  'd  fathers  did  beget  you. 

Be  copy  now  to  men  of  grosser  blood. 

And  teach  them  how  to  war.    And  you,  good  yeomen, 

Whose  limbs  were  made  in  England,  show  us  here 

The  mettle  of  your  pasture  ;  let  us  swear 

That  you  are  worth  your  breeding  :  which  I  doubt  not ; 

For  there  is  none  of  you  so  mean  and  base, 

That  hath  not  noble  lustre  in  your  eyes. 

I  see  you  stand  like  greyhounds  in  the  slips. 

Straining  upon  the  start.    The  game's  afoot  : 

Follow  your  spirit,  and  upon  this  charge 

Cry  "  God  for  Harry,  England,  and  Saint  George  ! " 

3.  Compound  Stress. 

In  the  Compound  Stress  the  Force  is  placed  upon  the  first 
and  last  parts  of  the  sound.  It  may  be  given  in  either  the 
Expulsive  or  the  Explosive  Form  : 


Compound  < 


(     ^^ Expulsive 

j n Explosive 


136  ESSENTIALS   OF   PUBLIC   SPEAKING 

It  is  heard  in  mimicry,  mocking  laughter,  taunt,  or  when- 
ever one  is  impelled  by  a  satirical  motive.  It  is  also  a  pivotal 
Stress  (p.  132),  and  represents  about  equally  the  Emotive  and 
Vital  Natures.  It  is  a  "double-faced"  Stress,  and  is  character- 
istic of  falsity  of  statement  or  ironical  motive,  and  is  used  to  ex- 
press irony,  sarcasm,  ridicule,  mockery,  satire,  taunt,  derision. 

Illustrative  Selection. 

Note.  A  few  words  given  in  Compound  Stress  will  tinge  with  sar- 
casm or  irony  the  whole  selection.  Let  the  student  seek  out  these 
expressive  words  and  apply  this  stress  to  them;  we  have  underscored  a 
few  of  them. 

THE    IRISH    DISTURBANCE   BILL 
Daniel  O'Connell 

I  do  not  rise  to  fawn  or  cringe  to  this  house.  I  do  not  rise  to 
supplicate  you  to  be  merciful  toward  the  nation  to  which  I 
belong,  —  toward  a  nation  which,  though  subject  to  England,  yet 
is  distinct  from  it.  It  is  a  distinct  nation  ;  it  has  been  treated  as 
such  by  this  country,  as  may  be  proved  by  history,  and  by  seven 
hundred  years  of  tyranny. 

I  call  upon  this  house,  as  you  value  the  liberty  of  England,  not 
to  allow  the  present  nefarious  bill  to  pass.  In  it  are  involved  the 
liberties  of  England,  the  liberty  of  the  press,  and  of  every  other 
institution  dear  to  Englishmen.  Against  the  bill  I  protest  in  the 
name  of  this  Irish  people,  and  in  the  face  of  Heaven.  I  treat  with 
scorn  the  puny  and  pitiful  assertions  that  grievances  are  not  to  be 
complained  of,  that  our  redress  is  not  to  be  agitated !  for,  in  such 
cases,  remonstrances  cannot  be  too  strong,  agitation  cannot  be  too 
violent,  to  show  to  the  world  with  what  injustice  our  fair  claims 
are  met,  and  under  what  tyranny  the  people  suffer. 

There  are  two  frightful  clauses  in  this  bill.  The  one  which  does 
away  with  trial  by  jury,  and  which  I  have  called  upon  you  to  bap- 
tize ;  you  call  it  a  court-martial,  —  a  mere  nickname  ;  I  stigmatize 
it  as  a  revolutionary  tribunal.  What,  in  the  name  of  Heaven,  is  it, 
if  it  is  not  a  revolutionary  tribunal  1 


STRESS  137 

It  annihilates  the  trial  by  jury  ;  it  drives  the  judge  from  his 
bench,  —  the  man  who,  from  experience,  could  weigh  the  nice  and 
delicate  points  of  a  case  ;  who  could  discriminate  between  the 
straightforward  testimony  and  the  suborned  evidence  ;  who  could 
see,  plainly  and  readily,  the  justice  or  injustice  of  the  accusation. 

It  turns  out  this  man  who  is  free,  unshackled,  unprejudiced, 
who  has  no  previous  opinions  to  control  the  clear  exercise  of  his 
duty.  You  do  away  with  that  which  is  more  sacred  than  the  throne 
itself, —  that  for  which  your  King  reigns,  your  Lords  deliberate, 
your  Commons  assemble. 

If  ever  I  doubted  before  of  the  success  of  our  agitation  for 
repeal,  this  bill,  this  infamous  bill,  the  way  in  which  it  has  been 
received  by  the  House,  the  manner  in  which  its  opponents  have 
been  treated,  the  personalities  to  which  they  have  been  subjected, 
the  yells  with  which  one  of  them  has  this  night  been  greeted, — 
all  these  things  dissipate  my  doubts,  and  tell  me  of  its  complete 
and  early  triumph. 

Do  you  think  those  yells  will  be  forgotten  ?  Do  you  suppose 
their  echo  will  not  reach  the  plains  of  my  injured  and  insulted 
country  ;  that  they  will  not  be  whispered  in  her  green  valleys,  and 
heard  from  her  lofty  hills .'' 

Oh,  they  will  be  heard  there  !  Yes ;  and  they  will  not  be  for- 
gotten. The  youth  of  Ireland  will  bound  with  indignation  ;  they 
will  say,  "We  are  eight  millions  ;  and  you  treat  us  thus,  as  though 
we  were  no  more  to  your  country  than  the  isle  of  Guernsey  or  of 
Jersey !  " 

I  have  done  my  duty  ;  I  stand  acquitted  to  my  conscience  and 
my  country ;  I  have  opposed  this  measure  throughout  ;  and  I 
now  protest  against  it  as  harsh,  oppressive,  uncalled  for,  unjust, — 
as  establishing  an  infamous  precedent  by  retaliating  crime  against 
crime,  —  as  tyrannous,  cruelly  and  vindictively  tyrannous. 

4.  Median  Stress. 

The  Median  is  that  stress  in  which  the  main  Force  is  placed 
upon  the  middle  of  the  sound,  producing  a  swell  of  the  voice 
which  may  be  gentle  or  intense  according  to  the  sentiment 


138  ESSENTIALS   OF  PUBLIC   SPEAKING 

expressed.  It  may  be  given  with  notes  of  song  and  speech 
in  various  lengths  of  Quantity,  and  with  the  Effusive  Form 
only,  as  represented  in  the  following  cut : 

Median— =<r  ^>- Effusive 


It  is  heard  in  nature  in  the  moaning  wind,  the  howl  of  a 
dog,  the  groan  of  a  child,  the  swellmg  notes  of  the  pipe  organ, 
and  in  the  sigh  of  pathos  or  sorrow.  The  Median  is  a  dis- 
tinctly Emotive  Stress  and  may  be  used  to  express  those  senti- 
ments or  emotions  already  ascribed  to  the  Effusive  Form  and 
its  appropriate  Qualities  (see  table,  p.  114),  such  as  solcnmity, 
reverence,  weakness,  indifference,  whiiiing,  aiue,  secrecy,  etc. 

Illustrative  Selectioti. 

Note.  In  practicing  for  Median  Stress  strive  for  smoothness  and 
evenness  of  tone,  and  for  swelling  notes,  not  abrupt  tones.  Seek  out  the 
expressive  words,  those  which  best  reflect  the  sentiment,  and  apply  this 
Stress  to  them.     We  have  underscored  such  words  in  the  first  stanza. 

SAILING    BEYOND    SEAS 
Jean   Ingelow 

Methought  the  stars  were  blinking  bright, 

And  the  old  brig's  sails  unfurled  ; 
I  said:  "  I  will  sail  to  my  love  this  night, 

At  the  other  side  of  the  world." 
I  stepp'd  aboard — we  sail'd  so  fast  — 

The  sun  shot  up  from  the  bourn  ; 
But  a  dove  that  perch'd  upon  the  mast 
Did  mourn,  and  mourn,  and  mourn. 
O  fair  dove  !   O  fond  dove  ! 

And  dove  with  the  white,  white  breast  — 
Let  me  alone,  the  dream  is  my  own, 
And  my  heart  is  full  of  rest. 

My  true  love  fares  on  this  great  hill. 
Feeding  his  sheep  for  aye  ; 


STRESS  139 

I  look'd  in  his  hut,  but  all  was  still, 

My  love  was  gone  away. 
I  went  to  gaze  in  the  forest  creek. 

And  the  dove  mourn'd  on  apace  ; 
No  flame  did  flash,  nor  fair  blue  reek 
Rose  up  to  show  me  his  place. 
O  last  love  !   O  first  love  ! 

My  love  with  the  true,  true  heart, 
To  think  I  have  come  to  this  your  home. 
And  yet — we  are  apart! 

My  love  !   He  stood  at  my  right  hand. 

His  eyes  were  grave  and  sweet  ; 
Methought  he  said  :  "  In  this  far  land, 

O,  is  it  thus  we  meet.? 
Ah,  maid  most  dear,  I  am  not  here  ; 

I  have  no  place,  no  part. 
No  dwelling  more  by  sea  or  shore, 
But  only  in  thy  heart." 

O  fair  dove  !  O  fond  dove  ! 

Till  night  rose  over  the  bourn. 
The  dove  on  the  mast,  as  we  sail'd  fast, 
Did  mourn,  and  mourn,  and  mourn. 

5.  Thorough  Stress. 

In  the  Thorough  Stress  the  Force  is  applied  throughout  the 
sound  or  syllable  with  nearly  uniform  intensity.  It  may  be 
given  in  the  Expulsive  and  Explosive  Forms  with  notes  of 
speech  and  notes  of  song: 


Thorough 


[(=)■ 


-Expulsive 
-Explosive 


It  is  heard  in  the  crowing  of  the  cock,  the  lowing  of  cattle, 
the  call  of  the  herdsman,  and  the  shout  of  victory,  all  of  which 
sustain  our  classification  of  the  Thorough  as  representing  most 
strongly  the  Vital  Nature  of  Man.    It  is  used  under  conditions 


I40  ESSENTIALS   OF   PUBLIC   SPEAKING 

implying  distance  to  be  overcome  by  a  prolonged,  calling 
utterance,  and  is  the  appropriate  Stress  for  ordinary  callings 
lofty  appeal,  apostrophe,  a  scream  of  fright,  and  a  cry  of  rage 
or  alarm. 

Illustrative  Selection. 

Note.  In  the  selection  chosen  as  an  illustration  only  the  calls  and 
those  parts  addressed  to  the  noisy  crowd  should  be  given  in  Thorough 
Stress.  Continuant  sounds  and  indefinite  syllables  of  such  parts  most 
easily  respond  to  this  Stress. 

HORATIUS   AT    THE   BRIDGE 
Lord  Macaulay 

Now  the  Consul's  brow  was  sad, 

And  the  Consul's  speech  was  low, 
And  darkly  look'd  he  at  the  wall, 

And  darkly  at  the  foe : 
"  Their  van  will  be  upon  us 

Before  the  bridge  goes  down  ; 
And,  if  they  once  may  win  the  bridge. 

What  hope  to  save  the  town  ?  " 

Then  outspake  brave  Horatius, 

The  captain  of  the  gate  : 
"  To  every  man  upon  this  Earth 

Death  cometh  soon  or  late. 
And  how  can  man  die  better 

Than  facing  fearful  odds 
For  the  ashes  of  his  fathers 

And  the  temples  of  his  gods  ? 

"Hew  down  the  bridge.  Sir  Consul, 

With  all  the  speed  ye  may ; 
I,  with  two  more  to  help  me, 

Will  hold  the  foe  in  play,  — 
In  yon  strait  path  a  thousand 


STRESS  141 

May  well  be  stopp'd  by  three. 
Now  who  will  stand  on  either  hand, 
And  keep  the  bridge  with  me  ?" 

Then  outspake  Spurius  Lartius, — 

A  Ramnian  proud  was  he  : 
"  Lo,  I  will  stand  at  thy  right  hand, 

And  keep  the  bridge  with  thee." 
And  outspake  strong  Herminius, — 

Of  Titian  blood  was  he  : 
"  I  will  abide  on  thy  left  side, 

And  keep  the  bridge  with  thee." 

"  Horatius,"  quoth  the  Consul, 

"  As  thou  say'st,  so  let  it  be." 
And  straight  against  that  great  array 

Forth  went  the  dauntless  Three. 
Now,  while  the  Three  were  tightening 

Their  harness  on  their  backs, 
The  Consul  was  the  foremost  man 

To  take  in  hand  an  axe  ; 
And  Fathers  mix'd  with  Commons 

Seized  hatchet,  bar,  and  crow, 
And  smote  upon  the  planks  above, 

And  loosed  the  props  below. 

Meanwhile  the  Tuscan  army. 

Right  glorious  to  behold, 
Came  flashing  back  the  noonday  light. 
Rank  behind  rank,  like  surges  bright 

Of  a  broad  sea  of  gold. 
Four  hundred  trumpets  sounded 

A  peal  of  warlike  glee, 
As  that  great  host,  with  measured  tread. 
And  spears  advanced,  and  ensigns  spread, 
Roll'd  slowly  towards  the  bridge's  head. 

Where  stood  the  dauntless  Three. 


142  ESSENTIALS   OF   PUBLIC   SPEAKING 

But  now  no  sound  of  laughter 

Was  heard  amongst  the  foes. 
A  wild  and  wrathful  clamour 

From  all  the  vanguard  rose. 
Six  spears'  lengths  from  the  entrance 

Halted  that  mighty  mass, 
And  for  a  space  no  man  came  forth 

To  win  the  narrow  pass. 

But,  hark  !  the  cry  is  Astur : 

And,  lo  !  the  ranks  divide  ; 
And  the  great  lord  of  Luna 

Comes  with  his  stately  stride. 
Quoth  he,  "The  she-wolf's  litter 

Stand  savagely  at  bay  ; 
But  will  ye  dare  to  follow. 

If  Astur  clears  the  way?" 

Then,  whirling  up  his  broadsword 

With  both  hands  to  the  height. 
He  rush'd  against  Horatius, 

And  smote  with  all  his  might. 
With  shield  and  blade  Horatius 

•Right  deftly  turn'd  the  blow  ; 
The  blow,  though  turn'd,  came  yet  too  nigh  ; 
It  miss'd  his  helm,  but  gash'd  his  thigh. 
The  Tuscans  raised  a  joyful  cry 

To  see  the  red  blood  flow. 

He  reel'd,  and  on  Herminius 

He  lean'd  one  breathing-space. 
Then,  like  a  wild-cat  mad  with  wounds. 

Sprang  right  at  Astur's  face. 
Through  teeth  and  skull  and  helmet 

So  fierce  a  thrust  he  sped, 
The  good  sword  stood  a  handbreadth  out 

Behind  the  Tuscan's  head. 


STRESS  143" 

But  meanwhile  axe  and  lever 

Have  manfully  been  plied, 
And  now  the  bridge  hangs  tottering 

Above  the  boiling  tide. 
"Come  back,  come  back,  Horatius!" 

Loud  cried  the  Fathers  all  ; 
"Back,  Lartius!  back,  Herminius  I 

Back,  ere  the  ruin  fall !  " 

Back  darted  Spurius  Lartius  ; 

Herminius  darted  back  ; 
And,  as  they  pass'd,  beneath  their  feet 

They  felt  the  timbers  crack  ; 
But,  when  they  turn'd  their  faces, 

And  on  the  further  shore 
Saw  brave  Horatius  stand  alone. 

They  would  have  cross'd  once  more. 
But,  with  a  crash  like  thunder, 

Fell  every  loosen'd  beam. 
And,  like  a  dam,  the  mighty  wreck 

Lay  right  athwart  the  stream  ; 
And  a  long  shout  of  triumph 

Rose  from  the  walls  of  Rome, 
As  to  the  highest  turret-tops 

Was  splash'd  the  yellow  foam. 

Alone  stood  brave  Horatius, 

But  constant  still  in  mind, — 
Thrice  thirty  thousand  foes  before. 

And  the  broad  flood  behind. 
"  Down  with  him  !  "  cried  false  Sextus, 

With  a  smile  on  his  pale  face  ; 
"Now  yield  thee,"  cried  Lars  Porsena, 

"  Now  yield  thee  to  our  grace  !  " 

Round  turn'd  he,  as  not  deigning 

Those  craven  ranks  to  see  ; 
Nought  spake  he  to  Lars  Porsena, 


144  ESSENTIALS   OF   PUBLIC  SPEAKING 

To  Sextus  nought  spake  he  ; 
But  he  saw  on  Palatinus 

The  white  porch  of  his  home  ; 
And  he  spake  to  the  noble  river 

That  rolls  by  the  towers  of  Rome : 

"  O  Tiber  !  Father  Tiber  ! 

To  whom  the  Romans  pray, 
A  Roman's  life,  a  Roman's  arms. 

Take  thou  in  charge  this  day  !  " 
So  he  spake,  and,  speaking,  sheathed 

The  good  sword  by  his  side, 
And,  with  his  harness  on  his  back, 

Plunged  headlong  in  the  tide. 

No  sound  of  joy  or  sorrow 

Was  heard  from  either  bank, 
But  friends  and  foes  in  dumb  surprise. 
With  parted  lips  and  straining  eyes, 

Stood  gazing  where  he  sank ; 
And,  when  above  the  surges 

They  saw  his  crest  appear. 
All  Rome  sent  forth  a  rapturous  cry. 
And  even  the  ranks  of  Tuscany 

Could  scarce  forbear  to  cheer. 

But  fiercely  ran  the  current, 

SwoU'n  high  by  months  of  rain. 
And  fast  his  blood  was  flowing  ; 

And  he  was  sore  in  pain. 
And  heavy  with  his  armour, 

And  spent  with  changing  blows  ; 
And  oft  they  thought  him  sinking, 

But  still  again  he  rose. 

And  now  he  feels  the  bottom  ;  — 

Now  on  dry  earth  he  stands  ; 
Now  round  him  thron^j  the  Fathers 


Intermittent 


STRESS  145 

To  press  his  gory  hands. 
And,  now  with  shouts  and  clapping, 

And  noise  of  weeping  loud, 
He  enters  through  the  River  Gate, 

Borne  by  the  joyous  crowd. 

6.  Intermittent  Stress. 

The  Intermittent  is  that  Stress  in  which  the  main  Force  is 
applied  in  alternating  impulses  throughout  the  sound  or  word. 
It  may  be  given  in  all  three  of  the  Forms  of  Force  with  either 
notes  of  song  or  notes  of  speech : 

f<XXX> Effusive 

00000 Expulsive 

I    DOOOG--  — --Explosive 

It  is  heard  whenever  the  body  becomes  tremulous,  as  in  the 
chilling  effect  of  cold  or  under  the  excitement  of  extreme 
fright  or  ecstasy.  One  speaking  while  riding  in  a  wagon  over 
a  rough  street  would  vocalize  in  an  unavoidable  Intermittent 
Stress.  Since  it  is  an  expressional  result  of  physical  conditions 
it  represents  the  Vital  Nature  of  Man,  and  is  used  to  express 
tendertiess,  deep  pathos,  ecstatic  joy,  deep  reverence,  feebleness, 
whimpering,  rage,  horror,  and  intense  fear,  according  to  the 
Quality  and  Form  used. 

Illustrative  Selection. 

Note.  The  tender  and  pathetic  parts  of  the  following  selection  will 
be  found  to  respond  easily  to  this  Stress.  Remember  that  Intermittent 
is  the  broken,  tearful  voice  of  grief  or  other  great  excitement.  Once  in 
possession  of  this  Stress  the  student  should  avoid  its  excessive  use. 

THE   SOLDIER'S    REPRIEVE 

R.    D.    C.    ROBBINS 

"  I  thought,  Mr.  Allan,  when  I  gave  my  Bennie  to  his  country, 
that  not  a  father  in  all  this  broad  land  made  so  precious  a  gift, — 
no,  not  one.    The  dear  boy  only  slept  a  minute,  just  one  little 


146  ESSENTIALS   OF   PUBLIC  SPEAKING 

minute,  at  his  post ;  I  know  that  was  all,  for  Bennie  never  dozed 
over  a  duty.  How  prompt  and  reliable  he  was !  I  know  he  only 
fell  asleep  one  little  second ;  —  he  was  so  young,  and  not  strong, 
that  boy  of  mine !  Why,  he  was  as  tall  as  I,  and  only  eighteen  !  and 
now  they  shoot  him  because  he  was  found  asleep  when  doing  sen- 
tinel duty  !  Twenty-four  hours,  the  telegram  said,  —  only  twenty- 
four  hours.    Where  is  Bennie  now.?" 

"  We  will  hope  with  his  heavenly  Father,"  said  Mr.  Allan, 
soothingl3^ 

"  Yes,  yes  ;  let  us  hope  ;  God  is  very  merciful !  " 

"  '  I  should  be  ashamed,  father ! '  Bennie  said,  '  when  I  am  a 
man,  to  think  I  never  used  this  great  right  arm'  — and  he  held  it 
out  so  proudly  before  me  —  'for  my  country,  when  it  needed  it! 
Palsy  it  rather  than  keep  it  at  the  plow  ! ' 

"'Go,  then,  go,  my  boy,'  I  said,  'and  God  keep  you!'  God 
has  kept  him,  I  think,  Mr.  Allan  ! "  and  the  farmer  repeated  these 
last  words  slowly,  as  if,  in  spite  of  his  reason,  his  heart  doubted 
them. 

"  Like  the  apple  of  His  eye,  Mr.  Owen,  doubt  it  not !  " 

Blossom  sat  near  them  listening,  with  blanched  cheek.  She  had 
not  shed  a  tear.  Her  anxiety  had  been  so  concealed  that  no  one 
had  noticed  it.  She  had  occupied  herself  mechanically  in  the 
household  cares.  Now  she  answered  a  gentle  tap  at  the  kitchen 
door,  opening  it  to  receive  from  a  neighbors  hand  a  letter.  "It  is 
from  him,"  was  all  she  said. 

It  was  like  a  message  from  the  dead  !  Mr.  Owen  took  the 
letter,  but  could  not  break  the  envelope,  on  account  of  his  trem- 
bling fingers,  and  held  it  toward  Mr.  Allan,  with  the  helplessness 
of  a  child. 

The  minister  opened  it,  and  read  as  follows : 

"  Dear  Father  :  —  When  this  reaches  you,  I  shall  be  in  eter- 
nity. At  first,  it  seemed  awful  to  me ;  but  I  have  thought  about  it 
so  much  now,  that  it  has  no  terror.  They  say  they  will  not  bind  me, 
nor  blind  me  ;  but  that  I  may  meet  my  death  like  a  man.  I  thought, 
father,  it  might  have  been  on  the  battlefield,  for  my  country-,  and 
that,  when  I  fell,  it  would  be  fighting  gloriously ;  but  to  be  shot 
down  like  a  dog  for  nearly  betraying  it,  —  to  die  for  neglect  of 


STRESS  147 

duty !  O  father,  I  wonder  the  ver\-  thought  does  not  kill  me  I  But 
I  shall  not  disgrace  3-ou.  I  am  going  to  write  you  all  about  it ;  and 
when  I  am  gone,  you  may  tell  my  comrades.    I  cannot  now. 

"  You  know  I  promised  Jemmie  Carr's  mother  I  would  look 
after  her  boy ;  and,  when  he  fell  sick,  I  did  all  I  could  for  him. 
He  was  not  strong  when  he  was  ordered  back  into  the  ranks,  and 
the  day  before  that  night,  I  carried  all  his  luggage,  besides  my 
own,  on  our  march.  Toward  night  we  went  in  on  double-quick, 
and  though  the  luggage  began  to  feel  very  heavy,  ever)-body  else 
was  tired  too ;  and  as  for  Jemmie,  if  I  had  not  lent  him-  an  arm 
now  and  then,  he  would  have  dropped  by  the  way.  I  was  all  tired 
out  when  we  came  into  camp,  and  then  it  was  Jemmie's  turn  to  be 
sentr}',  and  I  would  take  his  place ;  but  I  was  too  tired,  father.  I 
could  not  have  kept  awake  if  a  gun  had  been  pointed  at  my  head  ; 
but  I  did  not  know  it  until  —  well,  until  it  was  too  late."' 

"God  be  thanked!"  interrupted  Mr.  Owen,  reverently.  "  I  knew 
Bennie  was  not  the  boy  to  sleep  carelessly  at  his  post." 

"  They  tell  me  to-day  that  I  have  a  short  reprieve, — given  to  me 
by  circumstances,  — '  time  to  write  to  you,'  our  good  Colonel  sa3's. 
Forgive  him,  father,  he  only  does  his  duty ;  he  would  gladly  save 
me  if  he  could  ;  and  do  not  lay  my  death  up  against  Jemmie.  The 
poor  boy  is  broken-hearted,  and  does  nothing  but  beg  and  entreat 
them  to  let  him  die  in  my  stead. 

"  I  can't  bear  to  think  of  mother  and  Blossom.  Comfort  them, 
father !  Tell  them  I  die  as  a  brave  boy  should,  and  that,  when  the 
war  is  over,  they  will  not  be  ashamed  of  me,  as  they  must  be  now. 
God  help  me :  it  is  very  hard  to  bear !  Good-by,  father !  God 
seems  near  and  dear  to  me  ;  not  at  all  as  if  He  wished  me  to  perish 
forever,  but  as  if  He  felt  sorry  for  His  poor,  sinful,  broken-hearted 
child,  and  would  take  me  to  be  with  Him  and  my  Saviour  in  a 
better  —  better  life." 

A  deep  sigh  burst  from  Mr.  Owen's  heart.  "  Amen,"  he  said, 
solemnly,  —  "  Amen." 

"  To-night,  in  the  early  twilight,  I  shall  see  the  cows  all  coming 
home  from  pasture,  and  precious  little  Blossom  standing  on  the 
back  stoop,  waiting  for  me  —  but  I  shall  never,  never  come !  God 
bless  you  all !    Forgive  your  poor  Bennie." 


148  ESSENTIALS   OF   PUBLIC  SPEAKING 

Late  that  night  the  door  of  the  "  back  stoop  "  opened  softly,  and 
a  little  figure  glided  out,  and  down  the  footpath  that  led  to  the  road 
by  the  mill.  She  seemed  rather  flying  than  walking,  turning  her 
head  neither  to  the  right  nor  to  the  left,  looking  only  now  and  then 
to  Heaven,  and  folding  her  hands  as  if  in  prayer.  Two  hours  later, 
the  same  young  girl  stood  at  the  Mill  Depot,  watching  the  com- 
ing of  the  night  train ;  and  the  conductor,  as  he  reached  down  to 
lift  her  into  the  car,  wondered  at  the  tear-stained  face  that  was 
upturned  toward  the  dim  lantern  he  held  in  his  hand.  A  few 
questions  and  ready  answers  told  him  all ;  and  no  father  could 
have  cared  more  tenderly  for  his  only  child  than  he  for  our  little 
Blossom. 

She  was  on  her  way  to  Washington,  to  ask  President  Lincoln 
for  her  brother's  life.  She  had  stolen  away,  leaving  only  a  note  to 
tell  her  father  where  and  why  she  had  gone.  She  had  brought  Ben- 
nie's  letter  with  her ;  no  good,  kind  heart,  like  the  President's, 
could  refuse  to  be  melted  by  it.  The  next  morning  they  reached 
New  York,  and  the  conductor  hurried  her  on  to  Washington. 
Every  minute,  now,  might  be  the  means  of  saving  her  brother's  life. 
And  so,  in  an  incredibly  short  time.  Blossom  reached  the  Capital, 
and  hastened  immediately  to  the  White  House. 

The  President  had  but  just  seated  himself  to  his  morning's  task 
of  overlooking  and  signing  important  papers,  when,  without  one 
word  of  announcement,  the  door  softly  opened,  and  Blossom,  with 
downcast  eyes  and  folded  hands,  stood  before  him. 

"  Well,  my  child,"  he  said,  in  his  pleasant,  cheerful  tones,  "  what 
do  you  want  so  bright  and  early  in  the  morning  ?  " 

"  Bennie's  life,  please,  sir,"  faltered  Blossom. 

"  Bennie  ?    Who  is  Bennie  ? " 

"  My  brother,  sir.  They  are  going  to  shoot  him  for  sleeping  at 
his  post." 

"  Oh,  yes,"  and  Mr.  Lincoln  ran  his  eye  over  the  papers  before 
him.  "  I  remember  !  It  was  a  fatal  .sleep.  You  see,  child,  it  was  at 
a  time  of  special  danger.  Thousands  of  lives  might  have  been  lost 
for  his  culpable  negligence." 

"  So  my  father  said,"  replied  Blo.ssom,  gravely  ;  "  but  poor  Ben- 
nie was  so  tired,  sir,  and  Jemmic  so  weak.  He  did  the  work  of  two, 


STRESS  149 

sir,  and  it  was  Jemmie's  night,  not  his ;  but  Jemmie  was  too  tired, 
and  Bennie  never  thought  about  himself,  that  he  was  tired,  too." 

"  What  is  this  you  say,  child  ?  Come  here  ;  I  do  not  understand," 
and  the  kind  man  caught  eagerly,  as  ever,  at  what  seemed  to  be  a 
justification  of  an  offense. 

Blossom  went  to  him  ;  he  put  his  hand  tenderly  on  her  shoulder, 
and  turned  up  the  pale,  anxious  face  toward  his.  How  tall  he 
seemed,  and  he  was  President  of  the  United  States,  too  !  A  dim 
thought  of  this  kind  passed  for  a  moment  through  Blossom's  mind ; 
but  she  told  her  simple  and  straightforward  story,  and  handed  Mr. 
Lincoln  Bennie's  letter  to  read. 

He  read  it  carefully ;  then,  taking  up  his  pen,  wrote  a  few  hasty 
lines,  and  rang  his  bell. 

Blossom  heard  this  order  given:  "Send  this  dispatch  at  once." 

The  President  then  turned  to  the  girl  and  said :  "  Go  home,  my 
child,  and  tell  that  father  of  yours,  who  could  approve  his  country's 
sentence,  even  when  it  took  the  life  of  a  child  like  that,  that  Abra- 
ham Lincoln  thinks  the  life  far  too  precious  to  be  lost.  Go  back, 
or,  —  wait  until  to-morrow  ;  Bennie  will  need  a  change  after  he  has 
so  bravely  faced  death ;  he  shall  go  with  you." 

"  God  bless  you,  sir,"  said  Blossom  ;  and  who  shall  doubt  that 
God  heard  and  registered  the  request  ? 

Two  days  after  this  interview,  the  young  soldier  came  to  the 
White  House  with  his  little  sister.  He  was  called  into  the  Pres- 
ident's private  room,  and  a  strap  fastened  upon  the  shoulder.  Mr. 
Lincoln  then  said  :  "  The  soldier  that  could  carry  a  sick  comrade's 
baggage,  and  die  for  the  act  so  uncomplainingly,  deserves  well  of 
his  country."  Then  Bennie  and  Blossom  took  their  way  to  the 
Green  Mountain  home.  A  crowd  gathered  at  the  Mill  Depot  to 
welcome  them  back;  and  as  Fanner  Owen's  hand  grasped  that  of 
his  boy,  tears  flowed  down  his  cheeks,  and  he  was  heard  to  say 
fervently,  "  The  Lord  be  praised  !  " 

7.  Vocal  exercises  in  Stress. 

(i)  Give  the  continuant  tonic  sounds  a,  a,  a,  e,  o,  and  00, 
with  notes  of  song  in  all  the  Stresses;  give  the  same  with  notes 
of  speech. 


I50  ESSENTIALS   OF   PUBLIC   SPEAKING 

(2)  Do  the  same  with  the  following  words  :  ale,  ann,  all,  eel, 
old,  ooze. 

(3)  Give  the  sounds  o,  i,  a,  in  the  six  Stresses  in  each  of  the 
eight  Qualities,  using  the  appropriate  Forms  of  voice. 

(4)  Give  the  same  sounds  in  all  the  Stresses  in  the  three 
Degrees  of  Force  and  the  appropriate  Forms. 

8.  Selection  for  all  Stresses. 

Note.  The  "Quarrel  of  Brutus  and  Cassius"  contains  so  great  a 
variety  of  passion  that  all  or  nearly  all  the  Stresses  may  be  found  in 
the  selection.  Let  the  student  find  these  sentiments  and  read  them  in 
their  appropriate  Stresses. 

THE    QUARREL   OF   BRUTUS   AND   CASSIUS 
FROM  "JULIUS  C^SAR" 

William  Shakespeare 

Cassius.    That  you  have  wrong'd  me  doth  appear  in  this : 
You  have  condemn'd  and  noted  Lucius  Pella 
For  taking  bribes  here  of  the  Sardians ; 
Wherein  my  letters,  praying  on  his  side, 
Because  I  knew  the  man,  were  slighted  off. 

Brutus.    You  wrong'd  yourself  to  write  in  such  a  case. 

Cas.    At  such  a  time  as  this  it  is  not  meet 
That  every  nice  offence  should  bear  his  comment. 

Brii.    Let  me  tell  you,  Cassius,  you  yourself 
Are  much  condemn'd  to  have  an  itching  palm ; 
To  sell  and  mart  your  offices  for  gold 
To  undeservers. 

Cas.  I  an  itching  palm  ? 

You  know  that  you  are  Brutus  that  speak  this. 
Or,  by  the  gods,  this  speech  were  else  your  last. 

Bf'ii.    The  name  of  Cassius  honours  this  corruption. 
And  chastisement  doth  therefore  hide  his  head. 

Cas.    Chastisement ! 

Br^l^    Rememl)er  March,  the  ides  of  March  remember: 
Did  not  great  JuHus  bleed  for  justice'  sake.'' 


STRESS  151 

What  villain  touch'd  his  body,  that  did  stab, 
And  not  for  justice  ?   What,  shall  one  of  us. 
That  struck  the  foremost  man  of  all  this  world 
But  for  supporting  robbers,  shall  we  now 
Contaminate  our  fingers  with  base  bribes, 
And  sell  the  mighty  space  of  our  large  honours 
For  so  much  trash  as  may  be  grasped  thus  ? 
I  had  rather  be  a  dog,  and  bay  the  moon, 
Than  such  a  Roman. 

Cas.  Brutus,  bay  not  me  ; 

111  not  endure  it ;  you  forget  yourself, 
To  hedge  me  in ;   I  am  a  soldier,  I, 
Older  in  practice,  abler  than  yourself 
To  make  conditions. 

Bru.  Go  to  ;  you  are  not,  Cassius. 

Cas.    I  am. 

Br7i.    I  say  you  are  not. 

Cas.    Urge  me  no  more,  I  shall  forget  myself; 
Have  mind  upon  your  health,  tempt  me  no  farther. 

Br7i.    Away,  slight  man  ! 

Cas.    Is't  possible .'' 

Bru.  Hear  me,  for  I  will  speak. 

Must  I  give  way  and  room  to  your  rash  choler  ? 
Shall  I  be  frighted  when  a  madman  stares  ? 

Cas.    O  ye  gods  !  ye  gods  !  must  I  endure  all  this  ? 

Bru.    All  this  !  ay,  more  :  fret  till  your  proud  heart  break  ; 
Go  show  your  slaves  how  choleric  you  are. 
And  make  your  bondmen  tremble.    Must  I  budge  ? 
Must  I  observe  you  ?  must  I  stand  and  crouch 
Under  your  testy  humour  ?    By  the  gods, 
You  shall  digest  the  venom  of  your  spleen. 
Though  it  do  split  you  ;  for,  from  this  day  forth, 
I'll  use  you  for  my  mirth  ;  yea,  for  mj-  laughter, 
When  you  are  waspish. 

Cas.  Is  it  come  to  this? 

Br7i.    You  say  you  are  a  better  soldier : 
Let  it  appear  so  ;  make  your  vaunting  true. 


152  ESSENTIALS    OF   PUBLIC   SPEAKING 

And  it  shall  please  me  well :   for  mine  own  part, 
I  shall  be  glad  to  learn  of  noble  men. 

Cas.    You  wrong  me  ever)'  way  ;  you  wrong  me,  Brutus  ; 
I  said  an  elder  soldier,  not  a  better : 
Did  I  say  "better"? 

Brti.  If  you  did,  I  care  not. 

Cas.    When  Ceesar  lived,  he  durst  not  thus  have  moved  me. 

Bru.    Peace,  peace  !  you  durst  not  so  have  tempted  him. 

Cas.    I  durst  not ! 

Bru.    No. 

Cas.    What,  durst  not  tempt  him  ! 

Bru.  For  yowr  life  you  durst  not. 

Cas.    Do  not  presume  too  much  upon  my  love  ; 
I  may  do  that  I  shall  be  sorry  for. 

Bru.    You  have  done  that  you  should  be  sorrj'  for. 
There  is  no  terror,  Cassius,  in  your  threats, 
For  I  am  arm'd  so  strong  in  honesty 
That  they  pass  by  me  as  the  idle  wind. 
Which  I  respect  not.    I  did  send  to  you 
For  certain  sums  of  gold,  which  you  denied  me: 
For  I  can  raise  no  monej'  by  vile  means : 
By  heaven,  I  had  rather  coin  my  heart, 
And  drop  my  blood  for  drachmas,  than  to  wring 
From  the  hard  hands  of  peasants  their  vile  trash 
By  any  indirection  :   I  did  send 
To  you  for  gold  to  pay  my  legions, 
Which  you  denied  me :  was  that  done  like  Cassius  ? 
Should  I  have  answer'd  Caius  Cassius  so  ? 
When  Marcus  Brutus  grows  so  covetous. 
To  lock  such  rascal  counters  from  his  friends. 
Be  ready,  gods,  with  all  your  thunderbolts ; 
Dash  him  to  pieces  ! 

Cas.  I  denied  you  not. 

Bru.    You  did. 

Cas.    I  did  not :  he  was  but  a  fool  that  brought 
My  answer  back.    Brutus  hath  rived  my  heart : 
A  friend  should  bear  a  friend's  infirmities. 


STRESS  153 

But  Brutus  makes  mine  greater  than  they  are. 

Bnt.    I  do  not,  till  you  practise  them  on  me. 

Cas.    You  love  me  not. 

Bnc.  I  do  not  like  your  faults. 

Cas.   A  friendly  eye  could  never  see  such  faults. 

Bru.    A  flatterer's  would  not,  though  they  do  appear 
As  huge  as  high  OljTnpus. 

Cas.    Come,  Antony,  and  young  Octavius,  come. 
Revenge  yourselves  alone  on  Cassius, 
For  Cassius  is  awear)'  of  the  world  ; 
Hated  by  one  he  loves ;  braved  by  his  brother ; 
Check'd  like  a  bondman ;  all  his  faults  observed. 
Set  in  a  note-book,  learn'd,  and  conn'd  by  rote. 
To  cast  into  my  teeth.    O,  I  could  weep 
My  spirit  from  my  eyes  !    There  is  my  dagger. 
And  here  my  naked  breast ;  wdthin,  a  heart 
Dearer  than  Plutus'  mine,  richer  than  gold : 
If  that  thou  be'st  a  Roman,  take  it  forth ; 
I,  that  denied  thee  gold,  will  give  my  heart: 
Strike,  as  thou  didst  at  Caesar ;  for,  I  know. 
When  thou  didst  hate  him  worst,  thou  lovedst  him  better 
Than  ever  thou  lovedst  Cassius. 

Bi'u.    Sheathe  your  dagger : 
Be  angry  when  you  will,  it  shall  have  scope  ; 
Do  what  you  will,  dishonour  shall  be  humour. 
O  Cassius,  you  are  yoked  with  a  lamb 
That  carries  anger  as  the  flint  bears  fire  ; 
Who,  much  enforced,  shows  a  hasty  spark. 
And  straight  is  cold  again. 

Cas.  Hath  Cassius  lived 

To  be  but  mirth  and  laughter  to  his  Brutus, 
When  grief,  and  blood  ill-temper'd,  vexeth  him? 

Bni.    When  I  spoke  that,  I  was  ill-temper'd  too. 

Cas.    Do  you  confess  so  much  ?  Give  me  your  hand. 

Bru.    And  my  heart  too. 

Cas.  O  Brutus! 

Bru.  What's  the  matter  ? 


154  ESSENTIALS   OF   PUBLIC   SPEAKING 

Cos.  Have  you  not  love  enough  to  bear  with  me, 
When  that  rash  humour  which  my  mother  gave  me 
Makes  me  forgetful  ? 

Bru.  Yes,  Cassius  ;  and,  from  henceforth, 
When  you  are  over-earnest  with  your  Brutus, 
He"ll  think  your  mother  chides,  and  leave  you  so. 


CHAPTER  VIII 

PITCH 

Pitch  is  the  location,  variation,  and  succession  of  notes  upon 
the  scale.  Location  means  the  point  in  the  compass  of  voice 
at  which  a  sound  is  uttered  ;  variation  means  the  transition 
from  one  Degree  of  Pitch  to  another  ;  and  succession  means 
the  relative  position  and  changes  of  the  notes  or  words  as  they 
progress  in  utterance. 

Broadly  speaking,  Pitch  represents  the  ]>.Iental  nature.  Man, 
the  most  intellectual  of  all  beings,  makes  the  most  varied  and 
complex  use  of  Pitch  to  express  his  thoughts  and  emotions; 
while  all  of  a  class  or  family  of  lower  animals  employ  the  same 
set  of  changes  of  Pitch  to  convey  their  limited  range  of  vocal 
sQxpression. 

The  above  definition  implies  three  subdivisions  of  Pitch,  — 
(i)  Degree,  (2)  Change,  and  (3)  Melody,  —  which  correspond 
respectively  to  the  Emotive,  Mental,  and  Vital  natures  of  man, 
as  shown  in  the  diagram  which  follows  : 

{Degree Emotive"] 
Change Mental     I  Man 
Melody Vital        J 

SECTION  I.    DEGREE  OF  PITCH 

Degree  of  Pitch  is  the  range  or  compass  of  voice  from  the 
lowest  to  the  highest  note,  and  the  position  on  the  scale  in 
which  tones  or  words  are  uttered.   Degrees  of  Pitch  mark  plainly 


DEGREE  OF   PITCH 


155 


High 


the  speaker's  Emotive  state ;  and  the  emotion  to  be  expressed 
may  range  from  the  deeply  serious  and  reverential  emotions  of 
very  Low  Degree  to  the  cry  of  excitement,  joy,  alarm,  or  defi- 
ance of  very  High  Degree.    In  no  way  does  one's  excitement     I 
or  lack  of  poise  manifest  itself  so  clearly  as  in  his  speaking  in    i 
too  high  a  key ;  and  the   low  notes  of  sorrow  or  grief  are    1 
unmistakably  Emotive. 

There  are  three  Degrees  of  Pitch,  —  (^x)  Low,  (2)  Middle, 
and  (3)  High,  —  each  of  which  may  be  further  subdivided  to 
suit  the  varieties  of  shading  in  expression. 
These  Degrees  are  dependent  upon  the  num- 
ber of  vibrations  in  a  given  time,  ranging 
from  about  40  to  4000  in  a  second,  —  the 
higher  the  Degree,  the  greater  the  number 
of  vibrations,  as  shown  in  the  number  of  par- 
allel lines  in  the  accompanying  figure. 

I. -Scale  of  Pitch. 

This  scale,  like  that  in  Movement  and 
Force,  is  relative,  and  is  dependent  upon 
iy)  mdividiiality,  (2)  acoustic  co?iditions,  and 
(3)  the  sentimerit  to  be  expressed. 

(i)  Each  individual  speaks  on  a  scale  of 
Pitch  peculiar  to  himself,  the  normal  scale 
of  one  being  higher  or  lower  than  that  of 
another.  This  individuality  should  be  pre- 
served unless  the  scale  is  abnormally  low  or 
high,  in  which  case  the  student  should  prac- 
tice in  the  various  degrees  of  Pitch  until  he 
can  raise  or  lower  his  voice  at  will. 

(2)  The  scale  of  Pitch  of  the  individual 
should  be  regulated  by  the  size  and  shape  of  each  auditorium, 
which  has  a  fundamental  key  of  Pitch  peculiar  to  itself.   As 
the  station  master  calls  the  trains  in  the  different  rooms  of  the 


Middle 


Low 


156  ESSENTIALS   OF   PUBLIC    SPEAKING 

building  and  out  on  the  platform,  it  will  be  noticed  that  he 
uses  different  degrees  of  Pitch.  In  like  manner,  the  speaker 
should  "  catch  the  Pitch  "  of  his  auditorium. 

(3)  The  scale  of  Pitch  once  established  by  the  individuality 
of  the  speaker  and  the  auditorium,  he  should  suit  his  Degrees 
of  Pitch  to  the  sentiments  and  emotions  he  wishes  to  portray. 
There  is  a  close  relation  between  Degrees  of  Pitch  and 
Degrees  of  Movement  (p.  65).  A  small  bell  makes  High 
Pitch  and  swings  rapidly  ;  a  large  bell  swings  slowly  and  makes 
Low  Pitch.  A  child's  vocal  organs  are  small ;  he  speaks  rapidly 
and  his  scale  of  Pitch  ranges  High.  A  man's  voice  is  lower  in 
Pitch  and  he  speaks  more  slowly.  This  is  true  of  musical 
instruments  of  various  sizes  and  shapes. 


r 


2.  Law  of  use. 


Following  this  analogy  we  see  that  the  large,  deeply  serious 
or  reflective  emotions,  such  as  rei'erence,  sublimity,  devotion, 
solem?iity,  sorrow,  gloom,  pathos,  awe,  and  7'eiieration,  take  the 
Low  Degrees  of  Pitch. 

When  not  moved  by  any  unusual  emotion  we  express  narra- 
tii'e,  didactic  thought,  calm  reasoning,  argumejitative  discourse, 
patriotism,  and  coicrage  in  the  Middle  Degrees  of  Pitch ; 
while  joy,  laughter,  alarm,  fright,  rage,  or  consternation  are 
given  naturally  in  the  High  Degrees  of  Pitch. 

Each  Degree  is  associated  and  blended  with  the  Degree 
next  to  it,  —  the  High  with  the  upper  portion  of  the  Middle, 
the  Low  with  the  lower  portion,  and  the  Middle  usually  with 
some  notes  in  both  the  other  Degrees. 

3.  Illustrative  Selections. 

Note.  In  the  selections  illustrating  the  several  Degrees  of  Pitch 
avoid  the  monotony  which  comes  of  confining  the  voice  to  too  narrow 
a  compass.  The  selection  assigned  to  Low  Degree  may  not  all  be  appro- 
priately given  in  that  Degree.  The  main  purpose  should  be  to  give 
each  sentiment  its  proper  Pitch  wherever  it  is  found. 


DEGREE   OF   PITCH  157 

(i)   Selection  illustrating  Low  Degree  of  Pitch. 

RESIGNATION 
H.  W.  Longfellow 

There  is  no  flock,  however  watched  and  tended, 

But  one  dead  lamb  is  there  ! 
There  is  no  fireside,  howsoe'er  defended, 

But  has  one  vacant  chair ! 

The  air  is  full  of  farewells  to  the  dying, 

And  mournings  for  the  dead  ; 
The  heart  of  Rachel,  for  her  children  crying, 

Will  not  be  comforted  ! 

Let  us  be  patient !  These  severe  afflictions 

Not  from  the  ground  arise. 
But  oftentimes  celestial  benedictions 

Assume  this  dark  disguise. 

We  see  but  dimly  through  the  mists  and  vapors  ; 

Amid  these  earthly  damps 
What  seem  to  us  but  sad,  funereal  tapers 

May  be  heaven's  distant  lamps. 

There  is  no  Death  !  What  seems  so  is  transition ; 

This  life  of  mortal  breath 
Is  but  a  suburb  of  the  life  elysian. 

Whose  portal  we  call  Death. 

She  is  not  dead, —  the  child  of  our  affection, — 

But  gone  unto  that  school 
Where  she  no  longer  needs  our  poor  protection, 

And  Christ  himself  doth  rule. 

In  that  great  cloister's  stillness  and  seclusion, 

By  guardian  angels  led. 
Safe  from  temptation,  safe  from  sin's  pollution, 

She  lives,  whom  we  call  dead. 


158  ESSENTIALS   OF   PUBLIC   SPEAKING 

Day  after  day  we  think  what  she  is  doing 

In  those  bright  reahns  of  air ; 
Year  after  year,  her  tender  steps  pursuing, 

Beliold  her  grown  more  fair. 

Thus  do  we  walk  with  her,  and  keep  unbroken 

The  bond  which  nature  gives, 
Thinking  that  our  remembrance,  though  unspoken. 

May  reach  her  where  she  lives. 

Not  as  a  child  shall  we  again  behold  her ; 

For  when  with  raptures  wild 
In  our  embraces  we  again  enfold  her, 

She  will  not  be  a  child  ; 

But  a  fair  maiden,  in  her  Father's  mansion. 

Clothed  with  celestial  grace  ; 
And  beautiful,  with  all  the  soul's  expansion, 

Shall  we  behold  her  face. 

And  though  at  times  impetuous  with  emotion 

And  anguish  long  suppressed, 
The  swelling  heart  heaves  moaning  like  the  ocean, 

That  cannot  be  at  rest,  — 

We  will  be  patient,  and  assuage  the  feeling 

We  may  not  wholly  stay  ; 
By  silence  sanctifying,  not  concealing. 

The  grief  that  must  have  way. 

(2)  Selection  illustrating  Middle  Degree  of  Pitch. 

THE   SKY 

John  Ruskin 

It  is  a  strange  thing  how  little  in  general  people  know  about  the 
sky,  and  yet  there  is  not  a  moment  of  any  day  of  our  lives,  when 
Nature  is  not  producing  scene  after  scene,  picture  after  picture, 
glory  after  glory,  working  upon  exquisite  and  constant  principles 


DEGREE   OF   PITCH 


159 


of  the  most  perfect  beauty.  And  every  man,  wherever  placed, 
however  far  from  other  sources  of  interest  or  of  beauty,  has  this 
doing  for  him  constantly.  Yet,  if  in  our  moments  of  utter  idle- 
ness and  insipidity,  we  turn  to  the  sky  as  a  last  resource,  which  of 
its  phenomena  do  we  speak  of  ?  One  says,  it  has  been  wet ;  and 
another,  it  has  been  windy  ;  and  another,  it  has  been  warm.  Who 
among  the  whole  chattering  crowd  can  tell  one  of  the  forms  and 
the  precipices  of  the  chain  of  tall  white  mountains  that  girded  the 
horizon  at  noon  )-esterday  ?  Who  saw  the  narrow  sunbeam  that 
came  out  of  the  south,  and  smote  upon  their  summits  until  they 
melted  and  moldered  away  in  the  dust  of  blue  rain  ?  Who  saw  the 
dance  of  the  dead  clouds  where  the  sunlight  left  them  last  night, 
and  the  west  wind  blew  them  before  it  like  withered  leaves  ?  All 
has  passed  unregretted  as  unseen ;  or  if  the  apathy  be  ever  shaken 
off  even  for  an  instant,  it  is  only  by  what  is  gross,  or  what  is  extraor- 
dinary. And  yet  it  is  not  in  the  broad  and  fierce  manifestations 
of  the  elemental  energies,  nor  in  the  clash  of  the  hail,  nor  the  drift 
of  the  whirlwind,  that  the  highest  characters  of  the  sublime  are 
developed.  God  is  not  in  the  earthquake,  nor  in  the  fire,  but  in  the 
still  small  voice.  They  are  but  the  blunt  and  the  low  faculties  of 
our  nature  which  can  be  addressed  only  through  lampblack  and 
lightning.  It  is  in  quiet  and  subdued  passages  of  unobtrusive  maj- 
esty, the  deep  and  the  calm,  and  the  perpetual ;  that  which  must 
be  sought  ere  it  is  seen,  and  loved  ere  it  is  understood  ;  things  which 
the  angels  work  out  for  us  daily,  and  yet  vary  eternally ;  which 
are  never  wanting,  and  never  repeated,  which  are  to  be  found 
always,  yet  each  found  but  once  ;  it  is  through  these  that  the  lesson 
of  devotion  is  chiefly  taught,  and  the  blessing  of  beauty  given. 

(3)   Selectiofi  illustrating  High  Degree  of  Pitch. 

RING   OUT,   WILD    BELLS 
Tennyson 

Ring  out,  wild  bells,  to  the  wild  sky, 
The  flying  cloud,  the  frosty  light : 
The  year  is  dying  in  the  night ; 

Ring  out,  wild  bells,  and  let  him  die. 


l6o  ESSENTIALS   OF   PUBLIC   SPEAKING 

Ring  out  the  old,  ring  in  the  new, 
Ring,  happy  bells,  across  the  snow : 
The  year  is  going  ;  let  him  go  ; 

Ring  out  the  false,  ring  in  the  true. 

Ring  out  the  grief  that  saps  the  mind, 
For  those  that  here  we  see  no  morej 
Ring  out  the  feud  of  rich  and  poor, 

Ring  in  redress  to  all  mankind. 

Ring  out  a  slowly  dying  cause, 
And  ancient  forms  of  party  strife  ; 
Ring  in  the  nobler  modes  of  life, 

With  sweeter  manners,  purer  laws. 


Ring  out  the  want,  the  care,  the  sin. 
The  faithless  colchiess  of  the  times ; 
Ring  out,  ring  out  my  mournful  rhymes, 

But  ring  the  fuller  minstrel  in. 

Ring  out  false  pride  in  place  and  blood. 
The  civic  slander  and  the  spite ; 
Ring  in  the  love  of  truth  and  right, 

Rins:  in  the  common  love  of  good. 


Ring  out  old  shapes  of  foul  disease ; 

Ring  out  the  narrowing  lust  of  gold  ; 

Ring  out  the  thousand  wars  of  old. 
Ring  in  the  thousand  years  of  peace. 

Ring  in  the  valiant  man  and  free. 
The  larger  heart,  the  kindlier  hand ; 
Ring  out  the  darkness  of  the  land, 

Ring  in  the  Christ  that  is  to  be. 


DEGREE  OF   PITCH 


i6i 


4.  Vocal  Culture  in  Degrees  of  Pitch. 

(i)  Sound  a,  e,  T,  o  separately  in  alternate  slides  through 
each  particular  Degree,  then  in  alternate  slides  through  the 
entire  compass,  thus  : 


DEGREES 


High                        c 

■J^ 

\ 

Middle                     [ 

\A 

J 

Low                         ^ 

lrJ'-\ 

J            \ 

(2)  In  the  same  way  sound  the  words  a//,  arm,  oil,  our,  roar. 

(3)  Sound  a,  e,  a,  a,  o  in  notes  of  song,  with  Median  Stress, 
through  the  entire  compass. 

5.  Selection  for  all  Degrees  of  Pitch. 

Note.  In  the  following  scene  there  is  need  of  great  variety  of 
Pitch.  The  greater  part  is  in  Middle  Degree ;  the  commands  and  alarms 
of  Macbeth  are  in  High  Degree,  while  his  despair  is  in  Low  Degree. 
It  should  be  analyzed  closely  as  to  sentiment,  and  the  voice  should  be 
given  free  play  in  expression. 


MACBETH   AT   DUNSINANE 

William  Shakespeare 

Within  the  Castle 
Enter,  with  Drum  and  Colours,  Macbeth,  Seyton, 
and  Soldiers. 
Macbeth.    Hang  out  our  banners  on  the  outward  walls  ; 
The  cry  is  still  "They  come  ";  our  castle's  strength 
Will  laugh  a  siege  to  scorn  :  here  let  them  lie 
Till  famine  and  the  ague  eat  them  up : 
Were  they  not  forced  with  those  that  should  be  ours, 
We  might  have  met  them  dareful,  beard  to  beard, 
And  beat  them  backward  home.  [//  cry  of  women  within. 

What  is  that  noise  ? 


l62  ESSENTIALS   OF  PUBLIC   SPEAKING 

Seyton.    It  is  the  cry  of  women,  my  good  lord.   \^Exit. 

Macb.    I  have  ahnost  forgot  the  taste  of  fears : 
The  time  has  been,  my  senses  would  have  cool'd 
To  hear  a  night-shriek ;  and  my  fell  of  hair 
Would  at  a  dismal  treatise  rouse  and  stir 
As  life  were  in't :   I  have  supp'd  full  with  horrors  ; 
Direness,  familiar  to  my  slaughterous  thoughts, 
Cannot  once  start  me. 

Reenter  Seyton 

Wherefore  was  that  cry  ? 

Sey.    The  queen,  my  lord,  is  dead. 

Macb.    She  should  have  died  hereafter ; 
There  would  have  been  a  time  for  such  a  word. 
To-morrow,  and  to-morrow,  and  to-morrow. 
Creeps  in  this  petty  pace  from  day  to  day 
To  the  last  syllable  of  recorded  time, 
And  all  our  yesterdays  have  lighted  fools 
The  way  to  dusty  death.    Out,  out,  brief  candle  ! 
Life's  but  a  walking  shadow,  a  poor  player 
That  struts  and  frets  his  hour  upon  the  stage 
And  then  is  heard  no  more :  it  is  a  tale 
Told  by  an  idiot,  full  of  sound  and  fury. 
Signifying  nothing. 

Enter  a  Messenger 

Thou  com'st  to  use  thy  tongue  ;  thy  story  quickly. 

Mess.    Gracious  my  lord, 
1  should  report  that  which  I  say  I  saw. 
But  know  not  how  to  do  it. 

Macb.  Well,  say,  sir. 

Mess.    As  I  did  stand  my  watch  upon  the  hill, 
I  look'd  toward  Birnam,  and  anon,  methought, 
The  wood  began  to  move. 

Macb.  Liar  and  slave  ! 

Mess.    Let  me  endure  your  wrath,  if't  be  not  so: 
Within  this  three  mile  may  you  see  it  coming  ; 


CHANGE   OF    PITCH  163 

I  say,  a  moving  grove. 

Macb.  If  thou  speak'st  false, 

Upon  the  next  tree  shalt  thou  hang  alive. 
Till  famine  cling  thee :  if  thy  speech  be  sooth, 
I  care  not  if  thou  dost  for  me  as  much. 
I  pall  in  resolution,  and  begin 
To  doubt  th'  equivocation  of  the  fiend 
That  lies  like  truth :   "  Fear  not,  till  Birnam  wood 
Do  come  to  Dunsinane  :  "  and  now  a  wood 
Comes  toward  Dunsinane.    Arm,  arm,  and  out ! 
If  this  which  he  avouches  does  appear. 
There  is  nor  flying  hence  nor  tarrying  here. 
I  gin  to  be  aweary  of  the  sun. 

And  wish  the  estate  o'  the  world  were  now  undone. 
Ring  the  alarum-bell !   Blow,  wind  !   come,  wrack  ! 
At  least  we'll  die  with  harness  on  our  back.   \^Exeunt. 


SECTION  II.   CHANGE  OF  PITCH 

Change  is  the  transition  of  sounds  from  one  Degree  of  Pitch 
to  another.  Change  is  either  concrete  or  discrete.  The  con-  ■ 
Crete  is  a  glide  through  Pitch,  characteristic  of  the  note  of 
speech.  The  discrete  is  a  step  from  one  Degree  to  another, 
and  is  a  vocal  necessity  in  making  concretes,  for  a  strong 
falling  concrete  must  be  preceded  by  a  step  upward  and  a 
strong  rising  concrete  by  a  corresponding  step  downward. 
Broadly  speaking.  Change  of  Pitch  conveys  the  meaning  and 
represents  the  Mental  nature,  though,  like  other  elements,  its 
subdivisions  correspond  more  definitely  to  the  three  natures 
of  man. 

There  are  three  fundamental  laws  of  expression  which  gov- 
ern all  concrete  changes  of  Pitch:  (i)  the  direction  of  a 
concrete  discloses  its  meaning,  (2)  the  continuity  of  a  concrete 
reveals  its  vitality,  and  (3)  the  length  of  a  concrete  determines 
its  emotion. 


l64  ESSENTIALS   OF   PUBLIC   SPEAKING 

This  gives  rise  to  the  three  subdivisions  of  change,  —  (i)  In- 
flection, (2)  Waves,  and  (3)  Ititerva Is,  —  a.nd  accounts  for  their 
triune  classification  as  follows  : 

r  Inflections    .     .      .     Mental    ^ 
Change  i  Waves     ....     Vital        i>  Man 
[intervals      .     .     .     Emotive  J 

I,  Inflection. 

Inflection  is  a  simple  slide  of  voice  from  one  Pitch  to  another. 
It  is  used  in  connection  with  all  the  other  vocal  elements  to 
convey  the  meaning  of  the  sentence,  and  is  therefore  Mental. 
There  are  two  varieties  of  Inflection,  (i)  Rising  and  (2)  Fall- 
ing, as  represented  with  the  three  Forms  of  Force  in  the 
following  cuts  : 


Rising: 

Effusive  Expulsive  Explosive 

Falling: 


f"^  (i)  The  Rising  Inflection  is  a  slide  from  a  lower  to  a  higher 
Degree  of  Pitch,  and  is  always  anticipative  in  significance,  ex- 
pressing interrogation,  hesitation,  indecision,  conciliation,  begging, 
and  incomplete  sense. 

Illustrations. 

/  / 

Questioning:  "Have  you  that  book  I  gave  you.?" 

/  /        /  /     /  \ 

Hesitation  :   "  So — yes  —  no — well,  so  be  it." 

/ 

Indecision:   "  I  think  she  is  honest."  | 

/         /  / 

Conciliation  :   "Well,  well  !    I  only  meant  to  put  it  off." 

/  / 

Begging:   "Give  me  a  piece  of  bread."      / 

I         / 
Incomplete  sen.se  :   "Whatever  may  be  our  fate,  — " 

/ 
/ 


CHANGE   OF    PITCH  165 

(2)  The  Falling  Inflection  is  a  slide  of  the  voice  from  a 
higher  to  a  lower  Degree  of  Pitch,  and  is  always  conclusive  in 
significance,  expressing  the  ansiver  of  questions,  determination, 
positiveness,  scorn,  denial,  and  completion  of  sense. 

Illustrations. 

Answering :   "  Yes,  I  have  that  book  you  gave  me." 

V  s 

Determination  :   "The  war,  then,  must  go  on." 

V  V 

Positiveness :   "  I  know  that  to  be  a  fact." 

N  N  V 

Scorn:   "Thou  slave,  thou  wretch,  thou  coward! 
Denial:   "We  will  proceed  no  further  in  this  business." 
Completion  of  sense  :   "The  day  is  done." 

Selection  for  Rising  and  Falling  Inflections. 

Note.  While  anticipative  thoughts  will  take  Rising  Inflections  and 
conclusive  thoughts  the  Falling  in  all  language,  these  two  changes  of 
Pitch  are  clearly  shown  in  the  questions  and  replies  in  the  colloquy 
between  the  Old  Nurse  and  Lady  Clare. 

LADY   CLARE 
Alfred  Tennyson 

It  was  the  time  when  lilies  blow. 
And  clouds  are  highest  up  in  air, 

Lord  Ronald  brought  a  lily-white  doe 
To  give  his  cousin.  Lady  Clare. 

I  trow  they  did  not  part  in  scorn  : 
Lovers  long-betroth'd  were  they : 

They  tw-o  will  wed  the  morrow  morn : 
God's  blessing  on  the  day  ! 

"  He  does  not  love  me  for  my  birth. 
Nor  for  my  lands  so  broad  and  fair  ; 

He  loves  me  for  my  own  true  worth. 
And  that  is  well,"  said  Lady  Clare. 


l66  ESSENTIALS    OF   PUBLIC    SPEAKING 

In  there  came  old  Alice  the  nurse, 

Said,  "  Who  was  this  that  went  from  thee  ?  " 

"  It  was  my  cousin,"  said  Lady  Clare, 
"  To-morrow  he  weds  with  me." 

"  O  God  be  thank'd !  "  said  Alice  the  nurse, 
"  That  all  comes  round  so  just  and  fair : 

Lord  Ronald  is  heir  of  all  your  lands, 
And  you  are  not  the  Lady  Clare." 

"Are  ye  out  of  your  mind,  my  nurse,  my  nurse  .f"' 
Said  Lady  Clare,  "that  ye  speak  so  wild  ? " 

"  As  God's  above,"  said  Alice  the  nurse, 
"  I  speak  the  truth  :   you  are  my  child. 

"  The  old  Earl's  daughter  died  at  my  breast ; 

I  speak  the  truth,  as  I  live  by  bread  ! 
I  buried  her  like  my  own  sweet  child, 

And  put  my  child  in  her  stead." 

"  Falsely,  falsely  have  ye  done, 

O  mother,"  she  said,  "  if  this  be  true, 

To  keep  the  best  man  under  the  sun 
So  many  years  from  his  due." 

"  Nay,  now,  my  child,"  said  Alice  the  nurse, 
"  But  keep  the  secret  for  your  life. 

And  all  you  have  will  be  Lord  Ronald's, 
When  you  are  man  and  wife." 

"If  I'm  a  beggar  born,"  she  said, 
"  I  will  speak  out,  for  I  dare  not  lie. 

Pull  off,  pull  off,  the  brooch  of  gold. 
And  fling  the  diamond  necklace  by." 

"Nay,  now,  my  child,"  said  Alice  the  nurse, 
"  But  keep  the  secret  all  ye  can." 

She  said,  "  Not  so  :  but  I  will  know 
If  there  be  any  faith  in  man." 


CHANGE   OF   PITCH  167 

"  Nay,  now,  what  faith  ?  "  said  Alice  the  nurse 

"  The  man  will  cleave  unto  his  right." 
"  And  he  shall  have  it,"  the  lady  replied,  ' 

"  Tho'  I  should  die  to-night." 

"  Yet  give  one  kiss  to  your  mother  dear! 

Alas,  my  child,  I  sinn'd  for  thee." 
"  O  mother,  mother,  mother,"  she  said, 

"  So  strange  it  seems  to  me. 

"  Yet  here's  a  kiss  for  my  mother  dear, 

My  mother  dear,  if  this  be  so. 
And  lay  your  hand  upon  my  head. 

And  bless  me,  mother,  ere  I  go." 

She  clad  herself  in  a  russet  gown. 

She  was  no  longer  Lady  Clare  : 
She  went  by  dale,  and  she  went  by  down, 

With  a  single  rose  in  her  hair. 

The  lily-white  doe  Lord  Ronald  had  brought 

Leapt  up  from  where  she  lay, 
Dropt  her  head  in  the  maiden's  hand. 

And  follow'd  her  all  the  way. 

Down  stept  Lord  Ronald  from  his  tower: 
"  O  Lady  Clare,  you  shame  your  worth  ! 

Why  come  you  drest  like  a  village  maid. 
That  are  the  flower  of  the  earth  ?  " 

"  If  I  come  drest  like  a  village  maid, 

I  am  but  as  my  fortunes  are : 
I  am  a  beggar  born,"  she  said, 

"  And  not  the  Lady  Clare." 

"  Play  me  no  tricks,"  said  Lord  Ronald, 

"  For  I  am  yours  in  word  and  in  deed. 
Play  me  no  tricks,"  said  Lord  Ronald, 

"  Your  riddle  is  hard  to  read." 


l68  ESSENTIALS   OF   PUBLIC   SPEAKING 

O  and  proudly  stood  she  up  I 

Her  heart  within  her  did  not  fail : 
She  look'd  into  Lord  Ronald's  eyes, 

And  told  him  all  her  nurse's  tale. 

He  laugh'd  a  laugh  of  merry  scorn : 

He  turn'd  and  kiss'd  her  where  she  stood : 

"If  you  are  not  the  heiress  born, 

And  I,"  said  he,  "the  next  in  blood, — 

"If  you  are  not  the  heiress  born. 

And  I,"  said  he,  "  the  lawful  heir, 
We  two  will  wed  to-morrow  morn. 

And  you  shall  still  be  Lady  Clare." 

2.  Waves. 

A  Wave  is  the  union  of  two  or  more  concretes.  An  Inflection 
which  rises  and  falls  with  one  continuous  impulse  forms  a 
Wave,  and  the  extent  of  this  continuity  marks  its  vitality,  hence 
it  belongs  to  the  Vital  division.  There  are  several  varieties  of 
Waves,  designated  according  to  (i)  the  Number,  (2)  the  Length, 
and  (3)  the  Direction  of  the  slides.  The  relation  of  the  kinds 
of  Waves  to  the  Triune  Nature  is  as  follows  : 

(Single.^ 
Double. -_rrri~^,Vital 
Continued--'' 

waves,;    Equal. .___  \  Maa 

(-----, Emotive 
Unequal, -"    '  / 

Direct.,  _  ^,        ,\ 

"- -.Mental      I 
Inverted----'"'  ) 

(i)  As  to  Number,  showing  the  continuance  of  vitality,  there 
are  three  :  Single,  composed  of  one  upward  and  one  downward 
slide;  Double,  having  three  slides;  and  Continued,  having  more 
than  three  slides.  All  these  are  here  illustrated  in  the  Expul- 
sive Form  and  Radical  Stress,  and  are  used  merely  to  extend 


CHANGE    OF   PITCH 


169 


the  ciuantity  of  an  Inflection  without  overstepping  the  Degree 
of  Pitch  the  sentiment  demands. 


a.  Single  Wave. 


S¥^ 


n  (\  r\ 

Shes  a  brave  girl !  she  rules  herself. 

U        U  U 

Well,  well,  I  think  so. 


b.  Double  Wave. 


c.   Continued  Wave. 


rvn 


JlJ  lil    -'I 


ru     ru 

Poor,  poor  indeed ! 


Jl/1  vu 


O,  he's  returned  ;  and  as  pleasant  as  ever  he  was. 

(2)  As  to  Length,  there  are  two  kinds  of  Waves :  Equal,  in 
which  the  Wave  begins  and  ends  on  the  same  Degree  of  Pitch, 
Qyi'pxtssmg  pleasurable,  happy  thoughts ;  and  Unequal,  in  which 
the  slides  up  and  down  are  of  unequal  length,  conveying  dis- 
agreeable or  ironical  motives.  Evidently  the  Equal  and  Unequal 
Waves  represent  the  Emotive  Nature. 


a.  Equal  Wave. 


jilj^W 


When  can  their  glory  fade? 

n  (in 

O,  the  wild  charge  they  made ! 


b.  Unequal  Wave. 


I 


J\ 


U  1  U 

Has  the  gentleman  done?    Has  he  completely  done? 

on  n  n 

You,  Prince  of  Wales!    You! 


I/O 


ESSENTIALS   OF   PUBLIC   SPEAKING 


(3)  As  to  Direction  there  are  two  varieties :  Direct^  which  ends 
in  a  falling  slide  and  is  therefore  conclusive  in  significance ; 
and  Inverted,  which  ends  in  an  upward  slide  and  is  anticipative 
in  meaning;  both  of  which  belong  to  the  Mental  division. 


a.  Direct  Wave. 


^ 


Ben  Hur  turned  the  first  goal,  and  the  race  was  won. 


h.  Inverted  Wave. 


u  nj   ju 


I'm  sure  I'm  not  more  extravagant  than  a  woman  ought  to  be. 
Dare  you  think  me  capable  of  so  vile  a  deed  .'' 


(4)  Vocal  Culture  of  Waves. 
Give  e,  00,  a,  dcvAflee,  do,  arm,  in 

a.  A  single,  equal,  direct  wave. 

b.  A  single,  equal,  inverted  wave. 

c.  A  single,  unequal,  direct  wave. 

d.  A  single,  unequal,  inverted  wave. 
c.  A  double,  equal,  direct  wave. 


f.  A  double,  equal,  inverted  wave. 

g.  A  double,  unequal,  direct  wave. 
h.  A  double,  unequal,  inverted  wave.        c/\/ 

/.  A  continued,  ecjual,  direct  wave.  '^~\/\/\ 

J.  A  continued,  efjual,  inverted  wave.       cf\/\J 


CHANGE   OF   PITCH  171 

Selection  for  all  ki/ids  of  Waves. 

Note.  Waves  may  very  properly  be  employed  in  the  utterance  of 
the  underscored  words  in  the  following  selection.  The  kinds  of  Waves 
to  be  used  may  be  inferred  from  the  discussion  of  the  subject  above. 

WIT  AND   REPARTEE   OF   BENEDICK  AND 
BEATRICE,  FROM    "MUCH   ADO  ABOUT    NOTHING" 

William  Shakespeare 

Beatrice.  I  wonder  that  you  will  still  be  talking,  Signior  Bene- 
dick:  nobody  marks  you. 

Benedick.    What,  my  dear  Lady  Disdain  !  are  you  yet  living? 

Beat.  Is  it  possible  disdain  .should  die  while  she  hath  such  meet 
food  to  feed  it  as  Signior  Benedick?  Courtesy  itself  must  convert 
to  disdain,  if  you  come  in  her  presence. 

Bene.  Then  is  courtesy  a  turncoat.  But  it  is  certain  I  am  loved 
of  all  ladies,  only  you  excepted  :  and  I  would  I  could  find  in  my 
heart  that  I  had  not  a  hard  heart ;   for,  truly,  I  love  none. 

Beat.  A  dear  happiness  to  women :  they  would  else  have  been 
troubled  with  a  pernicious  suitor.  I  thank  God  and  my  cold  blood, 
I  am  of  your  humour  for  that :  I  had  rather  hear  my  dog  bark  at 
a  crow  than  a  man  swear  he  loves  me. 

Bene.  God  keep  your  ladyship  still  in  that  mind !  so  some  gentle- 
man or  other  shall  'scape  a  predestinate  scratched  face. 

Beat.  Scratching  could  not  make  it  worse,  an  'twere  such  a 
face  as  yours. 

Be7ie.    Well,  you  are  a  rare  parrot-teacher. 

Beat.    A  bird  of  my  tongue  is  better  than  a  beast  of  yours. 

Bene.  I  would  my  horse  had  the  speed  of  your  tongue,  and  so 
good  a  continuer.  But  keep  your  way,  i'  God's  name  ;  I  have  done. 

Beat.    Will  you  not  tell  me  who  told  you  so  ? 

Bene.    No,  you  shall  pardon  me. 

Beat.    Nor  will  you  not  tell  me  who  you  are  ? 

Bene.    Not  now. 

Beat.  That  I  was  disdainful,  and  that  I  had  my  good  wit  out 
of  the  "  Hundred  Merry  Tales  "  :  well,  this  was  Signior  Benedick 
that  said  so. 


172  ESSENTIALS   OF   PUBLIC   SPEAKING 

Bene.    What's  he? 

Beat.    I  am  sure  you  know  him  well  enough. 

Bene.    Not  I,  believe  me. 

Beat.    Did  he  never  make  you  laugh  ? 

Bene.    I  pray  you,  what  is  he  1 

Beat.  Why,  he  is  the  prince's  jester:  a  very  dull  fool  ;  his  only 
gift  is  in  devising  impossible  slanders  :  none  but  libertines  delight 
in  him  ;  and  the  commendation  is  not  in  his  wit,  but  in  his  vil- 
lainy ;  for  he  both  pleases  men  and  angers  them,  and  then  they 
laugh  at  him  and  beat  him.  I  am  sure  he  is  in  the  fleet:  I  would 
he  had  boarded  me. 

Bene.    When  I  know  the  gentleman,  I'll  tell  him  what  you  say. 

Beat.  Do,  do :  he'll  but  break  a  comparison  or  two  on  me  ; 
which,  peradventure  not  mark'd  or  not  laughed  at,  strikes  him  into 
melancholy  ;  and  then  there's  a  partridge  wing  saved,  for  the  fool 
will  eat  no  supper  that  night.  \_Music.']  We  must  follow  the  leaders. 

Bene.    In  every  good  thing. 

Beat.  Nay,  if  they  lead  to  any  ill,  I  will  leave  them  at  the  next 
turning. 

3.  Intervals. 

By  Interval  of  Pitch  is  meant  the  distance  between  two 
points  on  the  scale.  It  is  the  measure  of  the  space  covered  by 
a  note  of  speech  whose  Pitch  value  is  ascertained,  not  by  the 
time  given  to  the  note,  but  by  the  portion  of  the  compass  over 
which  it  passes. 

As  the  length  of  the  Inflection  used  gives  emotional  coloring 
to  the  utterance,  and  as  the  Intervals  vary  with  the  intensity 
and  character  of  the  emotion,  it  is  clear  that  this  division  of 
Pitch  is  responsive  to  the  Emotive  nature. 

There  are  five  relative  Intervals  of  Pitch,  —  the  Se?niione, 
the  Second.,  the  Third,  the  Fifth,  and  the  Octave.  These  are 
the  intervals  on  the  musical  scale  held  by  musicians  to  be  the 
most  agreeable  and  satisfying  to  the  ear,  and  which  are  found 
to  be  used  with  hardly  less  uniformity  by  the  skilled  speaker. 
The  blendings  and  shadings  of  these  Intervals  is  one  of  the 


CHANGE   OF   PITCH  173 

most  interesting  studies  in  expression.    Their  relation  to  the 
Triune  nature  is  shown  in  the  following  diagram  : 


1  Semitones. 
Seconds,-- 

Intervals  /   Thirds r_V-~3»Mental      \  Man 

)  Fifths.;;;;; 


]  „  ,  "---^.Emotive 


(  ^  .Vital 

\  Octaves 

(i)  The  Semitone. 

The  Semitone  is  a  slide  of  the  voice  over  a  half  interval  of 
the  musical  scale.  It  is  the  shortest  but  not  the  least  impor- 
tant of  the  Intervals.  It  is  heard  in  the  plaintive  notes  of  the 
dove,  the  whimpering  and  complaining  of  children,  and  the  ten- 
der and  pitying  tones  of  the  mother  who  is  quieting  her  child. 
A  very  few  Semitones  will  add  a  tinge  of  pathos  to  language. 

In  expression  the  Semitone  is  used  in  the  utterance  of 
pathos,  sadness,  plaintiveness,  tenderness,  pity,  grief. 

Selection  illustrating  the  Semitone. 

Note.  Read  the  following  selection  with  the  understanding  that 
only  the  words  most  expressive  of  the  sentiments  named  in  the  discus- 
sion should  be  given  with  the  Semitone.  It  will  be  found  that  the 
Interval  of  the  Second  is  often  blended  with  this  element  in  the  expres- 
sion of  solemnity  and  pathos. 

THE   BLACKSMITH'S    STORY 

Frank  Olive 

Well,  no!    My  wife  ain't  dead,  sir,  but  I've  lost  her  all  the  same; 

She  left  me  voluntarily,  and  neither  was  to  blame. 

It's  rather  a  queer  story,  and  I  think  you  will  agree  — 

When  you  hear  the  circumstances  —  'twas  rather  rough  on  me. 

She  was  a  soldier's  widow.    He  was  kill'd  at  Malvern  Hill  ; 
And  when  I  married  her  she  seem'd  to  sorrow  for  him  still  ; 
But  I  brought  her  here  to  Kansas,  and  I  never  want  to  see 
A  better  wife  than  Mary  was  for  five  briirht  vears  to  me. 


174  ESSENTIALS   OF    PUBLIC   SPEAKING 

The  change  of  scene  brought  cheerfulness,  and  soon  a  rosy  glow 
Of  happiness  warm'd  Mary's  cheeks  and  melted  all  their  snow. 
I  think  she  loved  me  some, —  I'm  bound  to  think  that  of  her,  sir  ; 
And  as  for  me,  —  I  can't  begin  to  tell  how  I  loved  her ! 

Three  years  ago  the  baby  came  our  humble  home  to  bless  ; 
And  then  I  reckon  I  was  nigh  to  perfect  happiness  ; 
'Twas  hers,  —  'twas  mine  ;  but  I've  no  language  to  explain  to  you, 
How  that  little  girl's  weak  fingers  our  hearts  together  drew  ! 

Once  we  watch'd  it  through  a  fever,  and  with  each  gasping  breath, 
Dumb  with  an  awful,  wordless  woe,  we  waited  for  its  death ; 
And,  though  I'm  not  a  pious  man,  our  souls  together  there. 
For  Heaven  to  spare  our  darling,  went  up  in  voiceless  prayer. 

And,  when  the  doctor  said  'twould  live,  our  joy  what  words  could 

tell? 
Clasp'd  in  each  other's  arms,  our  grateful  tears  together  fell. 
Sometimes,  you  see,  the  shadow  fell  across  our  little  nest, 
But  it  only  made  the  sunshine  seem  a  doubly  welcome  guest. 

Work  came  to  me  a  plenty,  and  I  kept  the  anvil  ringing ; 
Early  and  late  you'd  find  me  there  a-hammering  and  singing ; 
Love  nerved  my  arm  to  labor,  and  moved  my  tongue  to  song, 
And,  though  my  singing  wasn't  sweet,  it  was  tremendous  strong  ! 

One  day  a  one-arnrd  stranger  stopp'd  to  have  me  nail  a  shoe. 

And,  while  I  was  at  work,  we  pass'd  a  compliment  or  two  ; 

I  ask'd  him  how  he  lost  his  arm.    He  said  'twas  shot  away 

At  Malvern  Hill.    "  Malvern  Hill  1   Did  you  know  Robert  May?" 

"That's  me,"  said  he.     "You,  you!"  I  gasp'd,  choking  with  hor- 
rid doubt ; 
"If  you're  the  man,  just  follow  mc  ;  we'll   try  this  mystery  out  !  " 
With  dizzy  steps,  I  led  him  to  Mary.    God  !    'Twas  true  ! 
Then  the  bitterest  pangs  of  mi.sery,  unspeakable,  I  knew. 

P'rozen  with  deadly  horror,  she  stared  with  eyes  of  stone. 

And  from  her  (juivering  lips  there  broke  one  wild, despairing  moan. 


CHANGE  OF   PITCH  175 

Twas  he  !  the  husband  of  her  youth,  now  risen  from  the  dead, 
But  all  too  late  ;  and,  with  bitter  cry,  her  senses  tied. 

What  could  be  done  ?   He  was  reported  dead.    On  his  return 
He  strove  in  vain  some  tidings  of  his  absent  wiie  to  learn. 
'Twas  well  that  he  was  innocent !   Else  I'd  have  kill'd  him,  too. 
So  dead  he  never  would  have  ris'n  till  Gabriel's  trumpet  blew  ! 

It  was  agreed  that  Mary  then  between  us  should  decide, 
And  each  by  her  decision  would  sacredly  abide. 
No  sinner,  at  the  judgment  seat,  waiting  eternal  doom, 
Could  suffer  what  I  did,  while  waiting  sentence  in  that  room. 

Rigid  and  breathless,  there  we  stood,  with  nerves  as  tense  as  steel, 
While  Mary's  eyes  sought  each  white  face,  in  piteous  appeal. 
God  !   could  not  woman's  duty  be  less  hardly  reconciled 
Between  her  lawful  husband  and  the  father  of  her  child? 

Ah,  how  my  heart  was  chill'd   to  ice,  when  she  knelt  down  and 

said, — 
"  Forgive  me,  John  !  He  is  my  husband  !  Here  !  Alive  !  not  dead  !  " 
I  raised  her  tenderly,  and  tried  to  tell  her  she  was  right, 
But  somehow,  in  my  aching  breast,  the  prison'd  words  stuck  tight ! 

"  But,  John,   I    can"t   leave   baby."  —  "  What !  wife   and   child  !  " 

cried  I ; 
"  Must  I  yield  all !   Ah,  cruel  fate  !   Better  that  I  should  die. 
Think  of  the  long,  sad,  lonely  hours,  waiting  in  gloom  for  me, — 
No  wife  to  cheer  me  with  her  love,  —  no  babe  to  climb  my  knee  I 

"And  yet  —  you  are  her  mother,  and  the  sacred  mother  love 
Is  still  the  purest,  tenderest  tie  that  Heaven  ever  wove. 
Take  her;  but  promise,  Mary, — for  that  will  bring  no  shame, — 
My  little  girl  shall  bear,  and  learn  to  lisp,  her  father's  name  1" 

It  may  be,  in  the  life  to  come,  I'll  meet  my  child  and  wife ; 
But  yonder,  by  my  cottage  gate,  we  parted  for  this  life  ; 
One  long  hand  clasp  from  Mary,  and  my  dream  of  love  was  done! 
One  long  embrace  from  baby,  and  my  happiness  was  gone  ! 


176  ESSENTIALS    OF   PUBLIC  SPEAKING 

(2)  The  Second. 

The  Second  is  a  slide  of  the  voice  over  a  whole  interval  of 
Pitch,  including  two  notes  of  the  musical  scale.  It  is  heard  in 
connection  with  Effusive  Form  in  the  chant  of  church  serv- 
ice, the  solemn  tones  of  the  pipe  organ,  the  distant  roar  of 
Niagara ;  and  with  Expulsive  Form  in  the  unaccented  and 
unemphatic  syllables  of  ordinary  conversation. 

As  an  element  of  expression  the  Second  is  most  used  in 
the  utterance  of  reverence,  devotmi,  sublimity,  majesty,  awe, 
and  despair. 

Selectio?i  illustrating  the  Second. 

Note.  In  reading  the  following  selection  the  student  will  occasion- 
ally employ  Semitones  and  Thirds  in  the  blends  necessary  to  correct 
expression. 

DARKNESS 

Lord  Byron 

I  had  a  dream,  which  was  not  all  a  dream. 

The  bright  sun  was  extinguish 'd,  and  the  stars 

Did  wander  darkling  in  the  eternal  space, 

Rayless,  and  pathless,  and  the  icy  earth 

Swung  blind  and  blackening  in  the  moonless  air  ; 

Morn  came  and  went  —  and  came,  and  brought  no  day. 

And  men  forgot  their  passions  in  the  dread 

Of  this  their  desolation  ;  and  all  hearts 

Were  chill'd  into  a  selfish  prayer  for  light. 

And  they  did  live  by  watch  fires  —  and  the  thrones, 

The  palaces  of  crowned  kings,  the  huts. 

The  habitations  of  all  things  which  dwell. 

Were  burnt  for  beacons  ;  cities  were  consumed, 

And  men  were  gather'd  round  their  blazing  homes 

To  look  once  more  into  each  other's  face. 

Happy  were  tho.se  who  dwelt  within  the  eye 

Of  the  volcanoes,  and  their  mountain  torch: 

A  fearful  hope  was  all  the  world  contain'd  ; 


CHANGE   OF   PITCH  177 

Forests  were  set  on  fire  —  but  hour  by  hour 

They  fell  and  faded  —  and  the  crackling  trunks 

Extinguish'd  with  a  crash — and  all  was  black. 

The  brows  of  men  by  the  despairing  light 

Wore  an  unearthly  aspect,  as  by  fits 

The  flashes  fell  upon  them  ;  some  lay  down     • 

And  hid  their  eyes  and  wept ;  and  some  did  rest 

Their  chins  upon  their  clenched  hands,  and  smiled ; 

And  others  hurried  to  and  fro,  and  fed 

Their  funeral  piles  with  fuel,  and  look'd  up 

With  mad  disquietude  on  the  dull  sky. 

The  pall  of  a  past  world  ;   and  then  again 

With  curses  cast  them  down  upon  the  dust, 

And  gnash'd  their  teeth  and  howl'd.    The  wild  birds  shriek'd. 

And,  terrified,  did  flutter  on  the  ground, 

And  flap  their  useless  wings  ;  the  wildest  brutes 

Came  tame  and  tremulous  ;  and  vipers  crawl'd 

And  twined  themselves  among  the  multitude. 

Hissing,  but  stingless  —  they  were  slain  for  food. 

And  War,  which  for  a  moment  was  no  more. 

Did  glut  himself  again ;  —  a  meal  was  bought 

With  blood,  and  each  sat  sullenly  apart 

Gorging  himself  in  gloom.    No  love  was  left ; 

All  earth  was  but  one  thought  —  and  that  was  death, 

Immediate  and  inglorious  ;  and  the  pang 

Of  famine  fed  upon  all  entrails  —  men 

Died,  and  their  bones  were  tombless  as  their  flesh  : 

The  meagre  by  the  meagre  were  devour'd. 

Even  dogs  assail'd  their  masters,  all  save  one. 

And  he  was  faithful  to  a  corse,  and  kept 

The  birds  and  beasts  and  famish'd  men  at  bay, 

Till  hunger  clung  them,  or  the  dropping  dead 

Lured  their  lank  jaws.    Himself  sought  out  no  food, 

But,  with  a  piteous  and  perpetual  moan, 

And  a  quick  desolate  cry,  licking  the  hand 

Which  answer'd  not  with  a  caress  —  he  died. 

The  crowd  was  famish'd  by  degrees  ;  but  two 


178  ESSENTIALS   OF   PUBLIC  SPEAKING 

Of  an  enormous  city  did  survive, 

And  they  were  enemies.     They  met  beside 

The  dying  emljers  of  an  altar-place, 

Where  had  been  heap'd  a  mass  of  holy  things 

For  an  unholy  usage  ;  they  raked  up. 

And  shivering  scraped  with  their  cold  skeleton  hands 

The  feeble  ashes,  and  their  feeble  breath 

Blew  for  a  little  life,  and  made  a  flame 

Which  was  a  mockery.     Then  they  lifted  up 

Their  eyes  as  it  grew  lighter,  and  beheld 

Each  other's  aspects  —  saw,  and  shriek'd,  and  died  — 

Even  of  their  mutual  hideousness  they  died. 

Unknowing  who  he  was  upon  whose  brow 

Famine  had  written  Fiend.     The  world  was  void. 

The  populous  and  the  powerful  was  a  lump, 

Seasonless,  herbless,  treeless,  manless,  lifeless  — 

A  lump  of  death  —  a  chaos  of  hard  clay. 

The  rivers,  lakes,  and  ocean  all  stood  still. 

And  nothing  stirr  'd  within  their  silent  depths  ; 

Ships  sailorless  lay  rotting  on  the  sea. 

And  their  masts  fell  down  piecemeal ;  as  they  dropp'd 

They  slept  on  the  abyss  without  a  surge  — 

The  waves  were  dead  ;  the  tides  were  in  their  grave. 

The  Moon,  their  mistress,  had  expired  before  ; 

The  winds  were  wither'd  in  the  stagnant  air, 

And  the  clouds  perish'd  ;  Darkness  had  no  need 

Of  aid  from  them  —  She  was  the  Universe. 

(3)  The  Third. 

The  Third  is  a  slide  of  the  voice  over  two  whole  intervals 
of  Pitch,  including  three  notes  of  the  musical  scale.  It  is  the 
Interval  most  common  in  nature  and  in  the  communications 
of  everyday  life.  It  gives  character  and  distinction  to  the 
accented  and  emphatic  syllables  of  ordinary  discourse. 

Thirds  are  used  to  express  co?tversatwn,  wit,  playfulness, 
argumentation,  descriptiofi,  oratorical  thought. 


CHANGE   OF   PITCH  179 

Selection  illustrathig  the  Third. 

Note.  While  the  Interval  of  the  Third  predominates  in  the  reading 
of  the  following  illustration,  the  Second  will  occur  in  unimportant  syl- 
lables, and  occasionally  a  Fifth  in  very  emphatic  syllables.  Remember 
there  is  a  constant  blending  of  these  three  Intervals  in  expression. 

THE   UNIVERSITY   THE  TRAINING  CAMP 
Henry  W.  Grady 

We  are  standing  in  the  daybreak  of  the  second  century  of  this 
Republic.  The  fixed  stars  are  fading  from  the  sky,  and  we  grope 
in  uncertain  light.  The  unrest  of  dawn  impels  us  to  and  fro,  but 
Doubt  stalks  amid  the  confusion,  and  even  on  the  beaten  paths 
the  shifting  crowds  are  halted,  and  from  the  shadows  the  sentries 
cry :  "  Who  comes  there  ?  " 

Nothing  is  steadfast  or  approved.  The  church  is  besieged  from 
without  and  betrayed  from  within.  Behind  the  courts  smoulders 
the  rioter's  torch  and  looms  the  gibbet  of  the  anarchists.  Trade  is 
restless  in  the  grasp  of  monopoly,  and  commerce  shackled  with 
limitation.  The  cities  are  swollen,  and  the  fields  are  stripped. 
Splendor  streams  from  the  castle,  and  squalor  crouches  in  the 
home.  The  universal  brotherhood  is  dissolving,  and  the  people 
are  huddling  into  classes.  The  hiss  of  the  Nihilist  disturbs  the 
covert,  and  the  roar  of  the  mob  murmurs  along  the  highway. 
Amid  it  all  beats  the  great  American  heart,  undismayed  ;  and, 
standing  fast  by  the  challenge  of  his  conscience,  the  citizen  of  the 
Republic,  tranquil  and  resolute,  notes  the  drifting  of  the  spectral 
currents  and  calmly  awaits  the  full  disclosures  of  the  day. 

Who  shall  be  the  heralds  of  the  coming  day  .?  Who  shall  thread 
the  way  of  honor  and  safety  through  these  besetting  problems? 
You,  my  countrymen,  you  !  The  university  is  the  training  camp 
of  the  future  ;  the  scholar,  the  champion  of  the  coming  years. 
Napoleon  overran  Europe  with  drum-tap  and  bivouac  ;  the  next 
Napoleon  shall  form  his  battalions  at  the  tap  of  the  schoolhouse 
bell,  and  his  captains  shall  come  with  cap  and  gown.  Waterloo 
was  won  at  Oxford;  Sedan  at  Berlin.  So  Germany  plants  her 
colleges  in   the  shadow   of  the   French  forts,   and   the   professor 


l8o  ESSENTIALS   OF   PUBLIC  SPEAKING 

smiles  amid  his  students  as  he  notes  the  sentinel  stalking  against 
the  sky.  The  farmer  has  learned  that  brains'  mix  better  with  his 
soil  than  the  waste  of  seabirds.  A  button  is  pressed  by  a  child's 
finger  and  the  work  of  a  million  men  is  done.  The  hand  is  nothing  ; 
the  brain  everything. 

Physical  prowess  has  had  its  day,  and  the  age  of  reason  has 
^ome.  The  lion-hearted  Richard  challenging  Saladin  to  single 
c6iv.bat  is  absurd.  Science  is  everything !  She  draws  Boston  within 
three  ^^jurs  of  New  York,  renews  the  famished  soil,  routs  her 
viewless  bondsmen  from  the  electric  center  of  the  earth,  and  then 
turns  to  watch  the  new  Icarus  as,  mounting  in  his  flight  to  the 
sun,  he  darkens  the  burnished  ceiling  of  the  sky  with  the  shadow 
of  his  wing. 

Learning  is  supreme,  and  you  are  its  prophets.  Here  the  Olym- 
pic games  of  the  Republic  —  and  you  are  its  chosen  athletes.  It 
is  yours,  then,  to  grapple  with  these  problems,  to  confront  and 
master  these  dangers.  Yours  to  decide  whether  the  tremendous 
forces  of  this  Republic  shall  be  kept  in  balance,  or  whether, 
unbalanced,  they  shall  bring  chaos  ;  whether  sixty  million  men 
are  capable  of  self-government,  or  whether  liberty  shall  be  lost  to 
them  who  would  give  their  lives  to  maintain  it.  Your  responsibility 
is  appalling.  You  stand  in  the  pass  behind  which  the  world's  lib- 
erties are  guarded. 

This  government  carries  the  hopes  of  the  human  race.  Blot  out 
the  beacon  that  lights  the  portals  of  this  Republic,  and  the  world 
is  adrift  again.  But  save  the  Republic,  establish  the  light  of  its 
beacon  over  the  troubled  waters,  and  one  by  one  the  nations  of  the 
earth  shall  drop  anchor  and  be  at  rest  in  the  harbor  of  universal 
liberty. 

(4)  The  Fifth. 

The  Fifth  is  the  slide  of  the  voice  through  five  notes  of  the 
musical  scale.  It  is  heard  less  frequently  than  the  Interval  of 
the  Third,  but  is  inseparable  from  it  in  strong  emphasis  and 
interrogation,  in  the  laughter  and  delight  of  children,  in  the 
exultant  or  indignant  outbursts  of  the  orator,  and  in  the  ex- 
pression of  other  strong  feeling. 


CHANGE   OF   PITCH  l8l 

Fifths  are  used  in  the  utterance  of  joy,  delight,  anger,  sur- 
prise, defiance,  lofty  command,  and  earfiest  interrogation. 

Ss lectio? I  illustrating  the  Fifth. 

Note.  In  the  following  selection  only  those  words  or  phrases  which 
embody  the  sentiments  named  above,  or  other  equally  strong  emotions, 
require  the  Fifth.  A  few  such  inflections  will  give  character  to  the 
whole  expression. 

THE    SUN    OF   LIBERTY 
Victor  Hugo 

We  are  in  Russia.  The  Neva  is  frozen.  They  build  houses  on 
it ;  heavy  carriages  roll  on  its  surface.  It  is  no  longer  water;  it  is 
rock.  The  passers-by  go  and  come  on  this  marble  which  has  been 
a  river ;  they  improvise  a  city  ;  they  trace  out  the  streets  ;  they 
open  the  shops ;  they  sell,  they  buy,  they  drink ;  they  eat,  they 
sleep,  they  hght  fires  on  this  water.  They  can  permit  themselves 
anything.  Fear  nothing,  do  what  they  please,  laugh,  dance  —  it  is 
more  solid  than  dry  land.  It  actually  sounds  under  the  foot  like 
granite.  Long  live  winter  !  Long  live  ice  !  There  is  ice,  and  it 
shall  stand  forever.  And  look  at  the  heavens  !  Is  it  day?  Is  it 
night  ?  A  gleam,  wan  and  pale,  crawls  over  the  snow.  One  would 
say  that  the  sun  is  dead. 

No  ;  thou  art  not  dead.  Liberty.  On  a  day,  and  at  the  moment 
when  they  least  expect  it,  at  the  hour  when  they  had  most  pro- 
foundly forgotten  thee,  thou  shaft  arise.  O  dazzling  sight!  One 
will  see  thy  starlike  face  suddenly  come  out  from  the  earth  and 
shine  on  the  horizon.  On  all  this  snow,  this  ice,  this  hard,  white 
plain,  on  this  water-become  block,  thou  shalt  dart  thy  golden  arrow, 
thy  bright  and  burning  ray,  thy  light,  thy  heat,  thy  life.  And  then  ! 
do  you  hear  that  dull  sound  ?  Do  you  hear  that  cracking,  deep  and 
dreadful.^  It  is  the  breaking  of  the  ice  !  It  is  the  Neva  w^hich  is 
tearing  loose  !   It  is  the  river  which  retakes  its  course  ! 

It  is  truth,  which  is  coming  again.  It  is  progress,  which 
recommences.  It  is  humanity,  which  again  begins  its  march, 
which  drifts  full  of  fragments,  which  draws  away,  roots  out,  car- 
ries off,  strikes  together,  mingles,  crushes,  and  drowns  in  its  waves, 


l82  ESSENTIALS   OF   PUBLIC   SPEAKING 

like  the  poor,  miserable  furniture  of  a  ruin,  not  only  the  upstart 
empire  of  Louis  Bonaparte,  but  all  the  establishments  and  all  the 
results  of  ancient  and  eternal  despotism.  Look  at  all  this  pass  by. 
It  is  disappearing  forever.  You  will  never  see  it  more.  See  that 
book  half  sunk  ;  it  is  the  old  code  of  iniquity.  That  trestlework 
which  has  just  been  swallowed  up  is  the  throne  !  And  this  other 
trestlework  which  is  going  off,  it  is  —  the  scaffold!  And  for  this 
immense  engulfing,  and  for  this  supreme  victory  of  life  over  death, 
what  has  been  the  power  necessary  r  One  of  thy  looks,  O  Sun  ! 
One  of  thy  rays,  O  Liberty  ! 

(5)  The  Octave. 

The  Octave  is  the  slide  of  voice  through  eight  notes  of  the 
scale.  Many  utterances  which  may  be  placed  in  this  class  fall 
a  little  short  of  the  Octave,  while  others  overrun  it,  but  the 
Interval  is  relatively  the  Octave.  It  is  heard  in  nature  in  the 
peal  of  thunder,  the  crash  of  cannon,  and  the  exclamations  of 
intense  feeling  heard  among  all  peoples. 

In  expression  the  Octave  is  employed  in  the  utterance  of 
astonishment,  mtense  fear,  exultation,  impassioned  exclamation, 
and  interrogation. 

Selectio7i  illustratifig  the  Octave. 

Note.  The  Octave  is  the  least  common  of  the  Intervals,  and  is 
heard  in  dramatic  expression  in  which  the  Inter\'al  of  the  Fifth  plays 
quite  as  important  a  part.  Only  the  most  intense  exclamations  of  feel- 
ing should  be  given  in  this  wide  Internal. 

SHYLOCK'S    RAGE   FROM    "THE   MERCHANT 
OF   VENICE" 

William  Shakespeare 
Enter  Shylock,  Salanio,  and  Salarino 

Salanio.    How  now,  Shylock!   what  news  among  the  merchants' 
Shylock.    You  knew,  none  so  well,  none  so  well  as  you,  of  my 
daughter's  flight. 


CHANGE   OF   PITCH  183 

Salarino.  That's  certain:  I,  for  my  part,  knew  the  tailor  that 
made  the  wings  she  flew  withal. 

Salan.  And  Shylock,  for  his  own  part,  knew  the  bird  was 
fledged  ;  and  then  it  is  the  complexion  of  them  all  to  leave  the 
dam. 

Shy.    She  is  damned  for  it. 

Salar.    That's  certain,  if  the  devil  may  be  her  judge. 

Shy.    My  own  flesh  and  blood  to  rebel ! 

Salan.    Out  upon  it,  old  carrion  !   rebels  it  at  these  years  ? 

Shy.    I  say,  my  daughter  is  my  flesh  and  blood. 

Salar.  There  is  more  difference  between  thy  flesh  and  hers 
than  between  jet  and  ivory;  more  between  yom  bloods  than  there 
is  between  red  wine  and  rhenish.  But  tell  us,  do  you  hear  whether 
Antonio  have  had  any  loss  at  sea  or  no  ? 

Shy.  There  I  have  another  bad  match  :  a  bankrupt,  a  prodigal, 
who  dare  scarce  show  his  head  on  the  Rialto  ;  a  beggar,  that  was 
used  to  come  so  smug  upon  the  mart ;  let  him  look  to  his  bond : 
he  was  wont  to  call  me  usurer ;  let  him  look  to  his  bond  :  he  was 
wont  to  lend  money  for  a  Christian  courtesy ;  let  him  look  to 
his  bond. 

Sa/a>:  Why,  I  am  sure,  if  he  forfeit,  thou  wilt  not  take  his 
flesh  :  what's  that  good  for  ? 

Shy.  To  bait  fish  withal:  if  it  will  feed  nothing  else,  it  will 
feed  my  revenge.  He  hath  disgraced  me,  and  hindered  me  half 
a  million  ;  laughed  at  my  losses,  mocked  at  my  gains,  scorned 
my  nation,  thwarted  my  bargains,  cooled  my  friends,  heated  mine 
enemies;  and  what's  his  reason?  I  am  a  Jew.  Hath  not  a  Jew 
eyes  .'*  hath  not  a  Jew  hands,  organs,  dimensions,  senses,  affections, 
passions?  fed  with  the  same  food,  hurt  with  the  same  weapons, 
subject  to  the  same  diseases,  healed  by  the  same  means,  warmed 
and  cooled  by  the  same  winter  and  summer,  as  a  Christian  is  ? 
If  you  prick  us,  do  we  not  bleed?  if  you  tickle  us,  do  we  not 
laugh  ?  if  you  poison  us,  do  we  not  die  ?  and  if  you  wrong  us, 
shall  we  not  revenge?  If  we  are  like  you  in  the  rest,  we  will 
resemble  you  in  that.  If  a  Jew  wrong  a  Christian,  what  is  his 
humility?  Revenge.  If  a  Christian  wrong  a  Jew,  what  should  his 
sufferance  be  by  Christian  example  ?    Why,  revenge.    The  villany 


l84  ESSENTIALS   OF   PUBLIC   SPEAKING 

you  teach  me,  I  will  execute,  and  it  shall  go  hard  but  I  will  better 
the  instruction. 

Enter  Tubal 

Salan.  Here  comes  another  of  the  tribe  :  a  third  cannot  be 
matched,  unless  the  devil  himself  turn  Jew. 

\Exeunt  Salan.  and  Salar. 

Shy.  How  now,  Tubal  I  what  news  from  Genoa  ?  hast  thou 
found  my  daughter  ? 

Tub.    I  often  came  where  I  did  hear  of  her,  but  cannot  find  her. 

Shy.  Why,  there,  there,  there,  there  !  a  diamond  gone,  cost  me 
two  thousand  ducats  in  Frankfort !  The  curse  never  fell  upon 
our  nation  till  now;  I  never  felt  it  till  now  :  two  thousand  ducats 
in  that ;  and  other  precious,  precious  jewels.  I  would  my  daughter 
were  dead  at  my  foot,  and  the  jewels  in  her  ear  I  would  she  were 
hearsed  at  my  foot,  and  the  ducats  in  her  coffin !  No  news  of 
them  ?  Why,  so:  and  I  know  not  what's  spent  in  the  search:  why, 
thou  loss  upon  loss  !  the  thief  gone  with  so  much,  and  so  much 
to  find  the  thief ;  and  no  satisfaction,  no  revenge:  nor  no  ill  luck 
stirring  but  what  lights  on  my  shoulders  ;  no  sighs  but  of  my 
breathing  ;  no  tears  but  of  my  shedding. 

Tub.  Yes,  other  men  have  ill  luck  too:  Antonio,  as  I  heard  in 
Genoa,  — 

Shy.    What,  what,  what. ^    ill  luck,  ill  luck  ? 

Tub.    Hath  an  argosy  cast  away,  coming  from  Tripolis. 

Shy.    I  thank  God,  I  thank  God!    Is"t  true,  is't  true? 

Tub.    I  spoke  with  some  of  the  sailors  that  escaped  the  wreck. 

Shy.  I  thank  thee,  good  Tubal :  good  news,  good  news !  ha, 
ha  !  where  ?  in  Genoa  ? 

Tub.  Your  daughter  spent  in  Genoa,  as  I  heard,  in  one  night 
fourscore  ducats. 

Shy.  Thou  stickest  a  dagger  in  me :  I  shall  never  see  my  gold 
again  :  fourscore  ducats  at  a  sitting  !  fourscore  ducats  ! 

Tub.  There  came  divers  of  Antonio's  creditors  in  my  company 
to  Venice,  that  swear  he  cannot  choose  but  break. 

Shy.  I  am  very  glad  of  it:  I'll  plague  him;  Fll  torture  him: 
I  am  irlad  of  it. 


CHANGE   OF   PITCH  185 

Ttih.  One  of  them  showed  me  a  ring  that  he  had  of  your 
daughter  for  a  monkey. 

Shy.  Out  upon  her  !  Thou  torturest  me,  Tubal :  it  was  my 
turquoise  ;  I  had  it  of  Leah  when  I  was  a  bachelor  :  I  would  not 
have  given  it  for  a  wilderness  of  monkeys. 

Tub.    But  Antonio  is  certainly  undone. 

Shy.  Nay,  that's  true,  that's  very  true.  Go,  Tubal,  fee  me  an 
officer ;  bespeak  him  a  fortnight  before.  I  will  have  the  heart  of 
him,  if  he  forfeit  ;  for,  were  he  out  of  Venice,  I  can  make  what 
merchandise  I  will.  Go,  go,  Tubal,  and  meet  me  at  our  synagogue ; 
go,  good  Tubal ;  at  our  synagogue,  Tubal.  {Exeunt. 

(6)  Vocal  culture  of  Intervals. 

a.  Sing  a,  a,  o  up  and  down  the  musical  scale  by  the  Inter-* 
vals  do.,  mi.,  sol,  do. 

b.  Speak  the  sounds  a,  e,  i,  0,  u  up  and  down  alternately  in 
slides  of  the  Semitone  ;  then  in  Seconds,  Thirds,  Fifths,  and 
Octaves  respectively. 

c.  Do  the  same  with  the  words  all,  arm,  isle,  our,  roll. 

Selection  used  to  illustrate  all  the  Internals. 

Note.  The  great  variety  of  sentiment  and  passion  in  the  following 
scene  gives  ample  opportunity  for  the  study  and  application  of  the  five 
Intervals  of  Pitch.  To  summarize,  keep  in  mind  that  the  Semitone  is 
the  pathetic  Interval ;  the  Second,  the  solemn  Interval ;  the  Third,  the 
conversational  Interval;  the  Fifth,  the  joyous  Interval ;  and  the  Octave, 
the  exclamatory  Inter\-al. 

PROTESTATIONS   OF   LOVE    FROM   "MUCH   ADO 
ABOUT   NOTHING" 

WiLLi.AM  Shakespeare 

Messina.    The  Inside  of  a  Church.   Lady  He?'o  is  falsely  accused 

Enter  Benedick  and  Beatrice 

Benedick.    Lady  Beatrice,  have  you  wept  all  this  while  ? 
Beatrice.    Yea,  and  I  will  weep  awhile  longer. 
Bene.    I  will  not  desire  that. 


l86  ESSENTIALS   OF   PUBLIC   SPEAKING 

Beat.    You  have  no  reason  ;   I  do  it  freely. 

Bene.    Surely  I  do  believe  your  fair  cousin  is  wronged. 

Beat.  Ah,  how  much  might  the  man  deserve  of  me  that  would 
right  her  ! 

Bene.    Is  there  any  way  to  show  such  friendship .? 

Beat.    A  very  even  way,  but  no  such  friend. 

Bene.    May  a  man  do  it  ? 

Beat.    It  is  a  man's  office,  but  not  yours. 

Bene.  I  do  love  nothing  in  the  world  so  well  as  you  :  is  not 
that  strange  1 

Beat.  As  strange  as  the  thing  I  know  not.  It  were  as  possible 
for  me  to  say  I  loved  nothing  so  well  as  you :  but  believe  me  not ; 
and  yet  I  lie  not  ;  I  confess  nothing,  nor  I  deny  nothing.  I  am 
"sorry  for  my  cousin. 

Bene.    By  my  sword,  Beatrice,  thou  lovest  me. 

Beat.    Do  not  swear  by  it,  and  eat  it. 

Bene.  I  will  swear  by  it  that  you  love  me  ;  and  I  will  make 
him  eat  it  that  says  I  love  not  you. 

Beat.    Will  you  not  eat  your  word  t 

Bene.  With  no  sauce  that  can  be  devised  to  it.  I  protest  I 
love  thee. 

Beat.    Why,  then,  God  forgive  me  ! 

Be7ie.    What  offence,  sweet  Beatrice  ? 

Beat.  You  have  stayed  me  in  a  happy  hour:  I  was  about  to 
protest  I  loved  you. 

Be7ie.    And  do  it  with  all  thy  heart. 

Beat.  I  love  you  with  so  much  of  my  heart  that  none  is  left 
to  protest. 

Bene.   Come,  bid  me  do  any  thing  for  thee. 

Beat.    Kill  Claudio. 

Bene.    Ha  !  not  for  the  wide  world. 

Beat.    You  kill  me  to  deny  it.    Farewell. 

Bene.    Tarry,  sweet  Beatrice. 

Beat.  I  am  gone,  though  I  am  here  :  there  is  no  love  in  you  : 
nay,  I  pray  you,  let  me  go. 

Bene.    Beatrice, — 

Beat.    In  faith,  I  will  go. 


CHANGE   OF   PITCH  187 

Bene.    We'll  be  friends  first. 

Beat.  You  dare  easier  be  friends  with  me  than  fight  with  mine 
enemy. 

Bene.    Is  Claudio  thine  enemy  ? 

Beat.  Is  he  not  approved  in  the  height  a  villain,  that  hath 
slandered,  scorned,  dishonoured  my  kinswoman  1  O  that  I  were  a 
man  !  What,  bear  her  in  hand  until  they  come  to  take  hands ;  and 
then,  with  public  accusation,  uncovered  slander,  unmitigated  ran- 
cour, —  O  God,  that  I  were  a  man  !  I  would  eat  his  heart  in  the 
market-place. 

Bene.    Hear  me,  Beatrice, — 

Beat.    Talk  with  a  man  out  at  a  window  !   A  proper  saying  ! 

Bene.    Nay,  but,  Beatrice, — 

Beat.  Sweet  Hero  !  She  is  wronged,  she  is  slandered,  she  is 
undone. 

Bene.    Beat  — 

Beat.  Princes  and  counties !  Surely,  a  princely  testimony,  a 
goodly  count.  Count  Confect ;  a  sweet  gallant,  surely  !  O  that  I 
were  a  man  for  his  sake  !  or  that  I  had  any  friend  would  be  a  man 
for  my  sake  !  But  manhood  is  melted  into  courtesies,  valour  into 
compliment,  and  men  are  only  turned  into  tongue,  and  trim  ones 
too  :  he  is  now  as  valiant  as  Hercules  that  only  tells  a  lie,  and 
swears  it.  I  cannot  be  a  man  with  wishing,  therefore  I  will  die  a 
woman  with  grieving. 

Bene.    Tarry,  good  Beatrice.    By  this  hand  I  love  thee. 

Beat.    Use  it  for  my  love  some  other  way  than  swearing  by  it. 

Bene.  Think  you  in  your  soul  the  Count  Claudio  hath  wronged 
Hero  .? 

Beat.    Yea,  as  sure  as  I  have  a  thought  or  a  soul. 

Bene.  Enough,  I  am  engaged;  I  will  challenge  him.  I  will  kiss 
your  hand,  and  so  leave  you.  By  this  hand,  Claudio  shall  render 
me  a  dear  account.  As  you  hear  of  me,  so  think  of  me.  Go,  com- 
fort your  cousin  :   I  must  say  she  is  dead  :  and  so,  farewell. 

\_Exejint. 


l88  ESSENTIALS    OF    PUBLIC   SPEAKING 

SECTION  III.    MELODY 

Melody  is  the  succession  or  trend  of  speech  notes  on  the 
scale  of  Pitch.  Spoken  Melody  does  not  necessarily  signify  a 
pleasing  succession  of  tones  as  in  music ;  but  it  is  the  vital, 
vocal  placing  of  notes  of  various  Qualities,  Forms,  Degrees  of 
Force,  Stresses,  Changes  of  Pitch,  and  rates  of  Time  in  harsh 
as  well  as  pleasing  succession.  The  speaker  composes  and 
delivers  his  melody  at  the  same  time,  and  he  should  have  as 
many  varieties  in  Melody  as  he  has  emotions.  The  difficulty 
with  many  speakers  and  readers  is  that  they  have  so  few  Mel- 
odies in  which  to  express  themselves.  It  behooves  the  student 
to  so  train  his  voice  in  Melody  that  his  delivery  will  not  be 
monotonous. 

Melody  is  composed  of  two  parts,  —  (i)  Current,  and 
(2)  Cadence,  which  may  be  likened  to  the  current  of  a  stream, 
and  its  fall  into  a  lake  when  it  ceases  to  be  a  stream.  Every 
complete  sentence  we  utter  has  a  current  of  speech  notes  and 
a  cadence  of  plunging  down  in  Pitch  to  close  the  sense. 

I.  Current  Melody  is  the  succession  of  notes  in  the  body  of 
the  sentence.  If  any  considerable  number  of  successive  speech 
notes  are  begun  on  the  same  Degree  of  Pitch,  however  they 
may  be  inflected,  a  monotone  is  produced  such  as  is  heard  in 
counting,  calling  a  list  of  names,  in  the  perfunctory  reading  of 
some  legal  document,  or  in  the  utterance  of  some  supposed 
supernatural  being,  such  as  the  ghost  in  the  play  of  Hamlet 
or  Julius  Ccesar.  If  the  range  of  Melody  is  too  limited  for  the 
thoughts  expressed,  the  utterance  becomes  monotonous,  and 
monotony  is  the  bete  noir  of  the  reader  or  speaker.  If,  on  the 
other  hand,  the  notes  are  varied  too  much  for  a  given  senti- 
ment, an  unstable,  flippant  effect  is  produced.  For  example, 
if  we  read  the  sublime  words  of  the  Psalmist,  "The  earth  is 
the  Lord's  and  the  fulness  thereof,"  with  wide  intervals  and 
sweeping  inflections,  the  dignity  and  sublimity  of  the  passage 
is  destroyed. 


MELODY  189 

There  are  three  kinds  of  Current  Melody  corresponding 
to  man's  triune  nature,  and  expressive  of  his  entire  range 
of  thought  and  feehng,  —  (i)  Chromatic,  (2)  Diatonic,  and 
(3)  Broken.  Their  relation  to  the  triune  nature  is  shown  as 
follows  : 


Melody  1 


achromatic     .     .     .     Emotive^ 


Current  ,  ^.         .  ,,         ,     .  ,, 

Diatonic   ....     Mental     ^  Man 

Broken      ....     Vital       J 


(i)  Chromatic  Melody  is  made  up  of  inflections  and  waves 
which  run  through  Semitonic  and  other  minor  intervals  of  the 
musical  scale.  It  is  largely  composed  of  Semitones  and  minor 
Thirds  and  may  occur  on  any  degree  of  Pitch.  We  have  seen 
that  Semitones  respond  to  the  Emotive  nature  of  man  ;  hence 
Chromatic  Melody,  composed  so  largely  of  Semitones,  belongs 
to  the  Emotive  division  and  is  the  medium  of  expression  for 
sad  emotio?is,  plai?iti7'eiiess,  tenderness,  pity,  sorrozv,  and  wailing. 

(2)  Diatonic  Melody  is  composed  of  inflections  and  waves 
made  through  Intervals  of  Seconds  and  Thirds,  and  represents 
the  Mental  nature  already  explained.  It  is  used  to  express 
the  ordinary  and  lively  thoughts  such  as  conversation,  didactic 
thought,  gladness,  delight,  grandeur,  and  oratorical ferjior. 

(3)  Broken  Melody  is  composed  of  inflections  and  waves  of 
wider  slides  and  more  broken  changes  of  Pitch  through  the 
Intervals  of  Fifths  and  Octaves.  As  it  manifests  great  vitality 
and  energy,  it  clearly  represents  the  Vital  nature  of  man  and  is 
used  to  express  his  more  dramatic  and  impassioned  conditions, 
such  as  ecstatic  joy,  triumph,  oratorical  invective,  amaze?ne?it, 
alar7n,  and  rage. 

Selection  illustrating  Current  Melody. 

Note.  In  reading  the  following  selection  the  student  should  strive 
for  a  pleasing  variety  in  the  arrangement  of  speech  notes.  As  monotony 
shows  lack  of  interest  on  the  part  of  the  speaker  and  destroys  interest 
on  the  part  of  the  audience,  every  effort  should  be  made  to  acquire 
spirit  and  sprightliness  of  Current  Melody.  . 


igo  ESSENTIALS   OF  PUBLIC   SPEAKING 

THE   NEW    SOUTH 
Henry  W.  Grady 

A  master  hand  has  drawn  for  5'ou  the  picture  of  your  returning 
armies.  You  have  been  told  how,  in  the  pomp  and  circumstance 
of  war,  they  came  back  to  you,  marching  with  proud  and  victo- 
rious tread,  reading  their  glory  in  a  nation's  eyes !  Will  you  bear 
with  me  while  I  tell  you  of  another  army  that  sought  its  home  at 
the  close  of  the  late  war,  —  an  army  that  marched  home  in  defeat 
and  not  in  victory,  in  pathos  and  not  in  splendor,  but  in  glory  that 
equaled  yours,  and  to  hearts  as  loving  as  ever  welcomed  heroes 
home. 

Let  me  picture  to  you  the  footsore  Confederate  soldier,  as,  but- 
toning up  in  his  faded  gray  jacket  the  parole  which  was  to  bear 
testimony  to  his  children  of  his  fidelity  and  faith,  he  turned  his  face 
southward  from  Appomattox  in  April,  1865.  Think  of  him  as, 
ragged,  half-starved,  heavy-hearted,  enfeebled  by  want  and  wounds; 
having  fought  to  exhaustion,  he  surrenders  his  gun,  wrings  the 
hands  of  his  comrades  in  silence,  and,  lifting  his  tear-stained  and 
pallid  face  for  the  last  time  to  the  graves  that  dot  old  Virginia 
hills,  pulls  his  gray  cap  over  his  brow  and  begins  the  slow  and 
painful  journe}'. 

What  does  he  find  —  let  me  ask  you  —  what  does  he  find  when, 
having  followed  the  battle-stained  cross  against  overwhelming 
odds,  dreading  death  not  half  so  much  as  surrender,  he  reaches  the 
home  he  left  so  prosperous  and  beautiful  ?  He  finds  his  house  in 
ruins,  his  farm  devastated,  his  slaves  free,  his  stock  killed,  his 
barns  empty,  his  trade  destroyed,  his  money  worthless,  his  social 
system,  feudal  in  its  magnificence,  swept  away,  his  people  without 
law  or  legal  status,  his  comrades  slain,  and  the  burdens  of  others 
heavy  on  his  shoulders.  Crushed  by  defeat,  his  very  traditions  are 
gone.  Without  money,  credit,  employment,  material,  or  training, 
and,  beside  all  this,  confronted  with  the  gravest  problem  that  ever 
met  human  intelligence,  —  the  establishing  of  a  status  for  the  vast 
body  of  his  liberated  slaves. 

What  does  he  do,  this  hero  in  gray  with  a  heart  of  gold.''  Does  he 
sit  down  in  sullenness  and  despair.'*  Not  for  a  day.  Surely  God,  who 


MELODY 


191 


had  stripped  him  of  his  prosperity,  inspired  him  in  his  adversity. 
As  ruin  was  never  before  so  overwhehning,  never  was  restoration 
swifter.  The  soldier  stepped  from  the  trenches  into  the  furrow ; 
horses  that  had  charged  Federal  guns  marched-  before  the  plow  ; 
and  fields  that  ran  red  with  human  blood  in  April  were  green  with 
the  harvest  in  June. 

But  what  is  the  sum  of  our  work  ?  We  have  found  out  that  the 
free  negro  counts  more  than  he  did  as  a  slave.  We  have  planted 
the  schoolhouse  on  the  hilltop,  and  made  it  free  to  white  and  black. 
We  have  sowed  towns  and  cities  in  the  place  of  theories,  and  put 
business  above  politics. 

The  new  South  is  enamored  of  her  new  work.  Her  soul  is  stirred 
with  the  breath  of  a  new  life.  The  light  of  a  grander  day  is  falling 
fair  on  her  face.  She  is  thrilling  with  the  consciousness  of  growing 
power  and  prosperity.  As  she  stands  upright,  full  statured  and 
equal,  among  the  people  of  the  earth,  breathing  the  keen  air  and 
looking  out  upon  the  expanded  horizon,  she  understands  that  her 
emancipation  came  because,  through  the  inscrutable  wisdom  of 
God,  her  honest  purpose  was  crossed  and  her  brave  armies  were 
beaten. 

The  South  has  nothing  for  which  to  apologize.  I  should  be 
unjust  to  the  dauntless  spirit  of  the  South  and  to  my  own  convic- 
tions if  I  did  not. make  this  plain  in  this  presence.  The  South  has 
nothing  to  take  back.  In  my  native  town  of  Athens  is  a  monument 
that  crowns  its  central  hill  —  a  plain  white  shaft.  Deep  cut  into 
its  shining  side  is  a  name  dear  to  me  above  the  names  of  men  — 
that  of  a  brave  and  simple  man  who  died  in  a  brave  and  simple 
faith.  Not  for  all  the  glories  of  New  England,  from  Plymouth 
Rock  all  the  way,  would  I  exchange  the  heritage  he  left  me  in 
his  soldier's  death.  To  the  foot  of  that  I  shall  send  my  chil- 
dren's children  to  reverence  him  who  ennobled  their  name  with  his 
heroic  blood. 

But,  sir,  speaking  from  the  shadow  of  that  memory  which  I 
honor  as  I  do  nothing  else  on  earth,  I  say  that  the  cause  in  which 
he  suffered  and  for  which  he  gave  his  life  was  adjudged  by  higher 
and  fuller  wisdom  than  his  or  mine,  and  I  am  glad  that  the  omnis- 
cient God  held  the  balance  of  battle  in  his  almighty  hand,  that 


192  ESSENTIALS   OF   PUBLIC   SPEAKING 

human  slavery  was  swept  forever  from  American  soil,  and  that 
the  American  Union  was  saved  from  the  wreck  of  war. 

Now,  what  answer  has  New  England  to  this  message  ?  Will  she 
withhold,  save  in  strained  courtesy,  the  hand  which,  straight  from 
his  soldier's  heart,  Grant  offered  to  Lee  at  Appomattox?  Will  she 
make  the  vision  of  a  restored  and  happy  people  —  which  gathered 
above  the  couch  of  your  dying  captain,  filling  his  heart  with  grace, 
touching  his  lips  with  praise,  and  glorifying  his  path  to  the  grave 
—  will  she  make  this  vision,  on  which  the  last  sigh  of  his  expiring 
soul  breathed  a  benediction,  a  cheat  and  a  delusion?  If  she  does, 
the  South,  never  abject  in  asking  for  comradeship,  must  accept 
with  dignity  its  refusal ;  but  if  she  does  not  refuse  to  accept  in 
frankness  and  sincerity  this  message  of  good  will  and  friendship, 
then  will  the  prophecy  of  Webster,  delivered  in  this  very  society 
forty  years  ago  amid  tremendous  applause,  be  verified  in  its  fullest 
sense  when  he  said  :  "  Standing  hand  to  hand  and  clasping  hands, 
we  should  remain  united  as  we  have  been  for  sixty  years,  citizens 
of  the  same  country,  members  of  the  same  government,  united,  all 
united  now  and  united  forever." 

2.  Cadence  is  that  part  of  Melody  w^hich  marks  the  close  of 
a  clause  or  sentence  when  the  rhetorical  thought  is  complete. 
It  consists  of  one  or  as  many  as  five  downward  slides  or  steps, 
the  last  of  which  must  be  a  Falling  Inflection.  It  must  reach 
the  line  of  rej^ose,  and  satisfy  the  ear  with  the  sense  of  com- 
pleted thought.  Cadence  is  easily  detected.  Count  "  twenty  " 
by  fives,  pausing  after  five,  ten,  and  fifteen,  with  lowered  Pitch 
and  Rising  Inflection  on  the  last  syllable,  and  then  end  with  the 
utterance  of  "twenty"  with  a  positive  Falling  Inflection  and 
the  complete  sense  is  fully  realized.  The  distance  of  this  fall  of 
voice  is  relative,  and  is  dependent  upon  the  gentleness  or  tur- 
bulence of  the  Current  Melody  preceding  it ;  the  more  varied 
the  Current  the  deeper  the  plunge  of  notes  in  the  Cadence. 

There  are  five  Cadences  :  (i)  the  Monad,  in  which  there  is 
but  one  syllable  ;  (2)  the  Diiad,  in  which  there  are  two;  (3)  the 
Triad,  in  which  there  are  three  ;   (4)  the  Tetrad,  in  which  there 


MELODY 


193 


are  four  ;  and  (5)  the  Pentad,  in  which  there  are  five  syllables. 
There  are  two  varieties  each  of  Duads  and  Triads.  The  use  of 
the  Cadence  is  determined  by  the  accent  and  emphasis  of  the 
syllables  composing  the  closing  words  of  the  sentence,  as  in- 
dicated by  the  heavier  shaded  notes  in  the  following  cuts  : 

Monad  Duad  Triad 


=^±! 


0/ 


J 


^ 


J- 


\ 


n- 


^ 


^ 


First 


Second 


Rising 


Falling 


Tetrad 


Pentad 


^ 


^ 


-^ 


^ 


A 


^ 


A 


-^ 


^ 


(i)  The  Monad. 

The  Monad  is  used  when  the  last  syllable  of  the  closing 
word  is  strongly  emphatic,  or  when  the  sentence  ends  in  a  very 
emphatic  monosyllable. 

My  answer  would  be  a  bloiv. 

(2)  The  Duad. 

a.  The  First  Duad  is  used  when  the  next  to  the  last  syllable 
of  the  sentence  is  accented. 

They  all  fired  at  ran  -  doni. 

b.  The  Second  Duad  is  used  when  the  last  syllable  of  the 
sentence  is  moderately  strong. 

Let  me  not  hinder,  Cassius,  your  de  -  sh-e. 

(3)  The  Triad. 

a.  The  Risi)ig  Triad  is  used  when  the  last  three  syllables 
are  about  equally  emphatic. 

Ah,  good  painter,  you  can^ t paint  sound ! 


194  ESSENTIALS   OF   PUBLIC  SPEAKING 

b.  The  Falling  Triad  is  used  when  the  second  from  the  last 
syllable  of  the  sentence  is  accented. 

The  feast  was  boiDi  -  ti  -  ful. 

(4)  The  Tetrad  is  used  when  the  third  from  the  last  syl- 
lable of  the  sentence  is  accented. 

The  work  was  done  beau  -  ti  -  ful  -  ly. 

(5)  The  Pentad  is  used  when  the  fourth  from  the  last  syllable 
of  the  sentence  is  accented. 

He  was  prompted  by  pure  dis  -  in  -  ter  -  est  -  ed  -  ness. 

FAULTS  OF  CADENCE 

In  practicing  Cadence  students  are  cautioned  against  the 
following  defects  : 

a.  Dropping  the  voice  too  suddenly  at  the  close  of  the 
sentence, 

b.  Allowing  the  voice  to  rise  on  the  last  syllable, 

c.  Giving  the  last  syllable  with  a  note  of  song, 

d.  Turning  plain  discourse  into  pathos  by  using  the  slide  of 
the  semitone  oh  the  last  note,  and 

e.  Making  Cadence  where  the  thought  is  not  complete,  as  is 
often  the  case  in  reading  poetry. 

Selection  illustrating  Cadence. 

NoTK.  Determine  its  class  and  execute  each  of  the  Cadences  in  the 
following  selection.  Strive  for  a  positive  and  satisfactory  close  to  each 
sentence  where  a  Cadence  is  required. 

A  FOOL  IN   THE  FOREST  FROM 
"AS   YOU   LIKE   IT" 

William  Shakespeare 

Jaques.    A  fool,  a  fool !  —  I  met  a  fool  i'  the  forest, 
A  motley  fool ;  —  a  miserable  world  !  — 
As  I  do  live  by  food,  I  met  a  fool, 


MELODY  195 

Who  laid  him  down  and  bask'd  him  in  the  sun, 

And  rail'd  on  Lady  Fortune  in  good  terms, 

In  good  set  terms,  —  and  yet  a  motley  fool ! 

'  Good  morrow,  fool,'  quoth  L    '  No,  sir,'  quoth  he, 

'  Call  me  not  fool  till  Heaven  hath  sent  me  fortune.' 

And  then  he  drew  a  dial  from  his  poke, 

And,  looking  on  it  with  lack-lustre  eye, 

Says  very  wiseh',  '  It  is  ten  o'clock: 

Thus  we  may  see,'  quoth  he,  '  how  the  world  wags : 

'Tis  but  an  hour  ago  since  it  was  nine, 

And  after  one  hour  more  'twill  be  eleven : 

And  so,  from  hour  to  hour,  we  ripe  and  ripe, 

And  then,  from  hour  to  hour,  we  rot  and  rot ; 

And  thereby  hangs  a  tale.'    When  I  did  hear 

The  motley  fool  thus  moral  on  the  time, 

My  lungs  began  to  crow  like  chanticleer, 

That  fools  should  be  so  deep-contemplative ; 

And  I  did  laugh,  sans  intemiission. 

An  hour  by  his  dial.  — •  O  noble  fool ! 

A  worthy  fool !  —  Motley's  the  only  wear. 

0  worthy  fool !  —  One  that  hath  been  a  courtier, 
And  says,  if  ladies  be  but  young  and  fair,  ' 
They  have  the  gift  to  know't;  and  in  his  brain, — 
Which  is  as  drj'  as  the  remainder  biscuit 

After  a  voyage,  —  he  hath  strange  places  cramm'd 

With  observation,  the  which  he  vents 

In  mangled  forms.  —  O,  that  I  were  a  fool ! 

1  am  ambitious  for  a  motley  coat.  .  .  . 

It  is  my  only  suit ; 
Invest  me  in  my  motley ;  give  me  leave 
To  speak  my  mind,  and  I  will  through  and  through 
Cleanse  the  foul  body  of  th'  infected  world. 
If  they  will  patiently  receive  my  medicine. 

Selection  illustrating  Melody. 

Note.    Strive  for  a  pleasing  variety  in  the  Current  Melody  and  avoid 
the  faults  named  above  in  the  execution  of  the  Cadences. 


196  ESSENTIALS   OF   PUBLIC  SPEAKING 

IMPARTIAL  ARBITRATION 

W.  J.  Brvan 

A  speech  delivered  before  the  Inter-Parliamentary  Union,  in  London, 
July  26,  1906,  on  a  resolution  introduced  by  Mr.  Bryan  asking  for  an 
international  commission  of  inquiry  or  the  mediation  of  friendly  powers, 
in  case  of  disputes  between  nations. 

The  first  advantage  of  thi.s  resolution  is  that  it  secures  an  in- 
vestigation of  the  facts,  and  if  you  can  but  separate  the  facts  from 
the  question  of  honor,  the  chances  are  one  hundred  to  one  that 
you  can  settle  both  the  fact  and  the  question  of  honor  without 
war.  There  is,  therefore,  a  great  advantage  in  an  investigation 
that  brings  out  the  facts,  for  disputed  facts  between  nations,  as 
between  friends,  are  the  cause  of  most  disagreements. 

The  second  advantage  of  this  investigation  is  that  it  gives 
time  for  calm  consideration.  That  has  already  been  well  pre- 
sented by  the  gentleman  who  has  preceded  me.  I  need  not  say 
to  you  that  man  excited  is  a  very  different  animal  from  man  calm, 
and  that  questions  ought  to  be  settled  not  by  passion  but  by  de- 
liberation. If  this  resolution  would  do  nothing  else  but  give  time 
for  reflection  and  deliberation,  there  would  be  sufficient  reason 
for  its  adoption.  If  we  can  but  stay  the  hand  of  war  until  con- 
science can  assert  itself,  war  will  be  made  more  remote.  When 
men  are  mad  they  swagger  around  and  tell  what  they  can  do  ; 
when  they  are  calm  they  consider  what  they  ought  to  do. 

The  third  advantage  of  this  investigation  is  that  it  gives  oppor- 
tunity to  mobilize  public  opinion  for  the  compelling  of  a  peaceful 
settlement,  and  that  is  an  advantage  not  to  be  overlooked.  Public 
opinion  is  coming  to  be  more  and  more  a  power  in  the  world. 
One  of  the  greatest  statesmen  of  my  country  —  Thomas  Jefferson, 
and,  if  it  would  not  offend,  I  would  say  I  believe  him  to  be  the 
greatest  statesrnan  the  world  has  produced  —  said  that  if  he  had 
to  choose  between  a  government  without  newspapers  and  new.s- 
papers  without  a  government,  he  would  rather  risk  the  newspapers 
without  a  government.  You  may  call  it  an  extravagant  statement, 
and  yet  it  presents  an  idea,  and  that  idea  is  that  public  opinion  is 
a  controlling  force.    I  am  glad  that  the  time  is  coming  when  public 


MELODY 


197 


opinion  is  to  be  more  and  more  powerful ;  glad  that  the  time 
is  coming  when  the  moral  sentiment  of  one  nation  will  influence 
the  action  of  other  nations  ;  glad  that  the  time  is  coming  when 
the  world  will  realize  that  a  war  between  two  nations  affects 
others  than  the  nations  involved  ;  glad  that  the  time  is  coming 
when  the  world  will  insist  that  nations  settle  their  differences  by 
some  peaceful  means.  If  time  is  given  for  the  marshaling  of  the 
force  of  public  opinion,  peace  will  be  promoted.  This  resolution 
is  presented,  therefore,  for  the  reason  that  it  gives  an  opportu- 
nity to  investigate  the  facts  and  to  separate  them  from  the 
question  of  honor,  that  it  gives  time  for  the  calming  of  passion, 
and  that  it  gives  time  for  the  formation  of  a  controlling  public 
sentiment. 

I  will  not  disguise  the  fact  that  I  consider  this  resolution  a 
long  step  in  the  direction  of  peace,  nor  will  I  disguise  the  fact 
that  I  am  here  because  I  want  this  Inter- Parliamentary  Union  to 
take  just  as  long  a  step  as  possible  in  the  direction  of  universal 
peace.  We  meet  in  a  famous  hall,  and  looking  down  upon  us 
from  these  walls  are  pictures  that  illustrate  not  only  the  glory 
that  is  to  be  won  in  war,  but  the  horrors  that  follow  war.  There 
is  a  picture  of  one  of  the  great  figures  in  English  history  (point- 
ing to  the  fresco  by  Maclise  of  the  death  of  Nelson).  Lord  Nel- 
son is  represented  as  dying,  and  around  him  are  the  mangled 
forms  of  others.  I  understand  that  war  brings  out  certain  virtues. 
I  am  aware  that  it  gives  opportunity  for  the  display  of  great 
patriotism  ;  I  am  aware  that  the  example  of  men  who  give  their 
lives  for  their  country  is  inspiring  ;  but  I  venture  to  say  there  is 
as  much  inspiration  in  a  noble  life  as  there  is  in  a  heroic  death, 
and  I  trust  that  one  of  the  results  of  this  Inter-Parliamentary 
Union  will  be  to  emphasize  the  doctrine  that  a  life  devoted  to  the 
public,  and  ever  flowing,  like  a  spring,  with  good,  exerts  an  influ- 
ence upon  the  human  race  and  upon  the  destiny  of  the  world  as 
great  as  any  death  in  war.  And  if  you  will  permit  me  to  mention 
one  whose  career  I  watched  with  interest  and  whose  name  I 
revere,  I  will  say  that,  in  my  humble  judgment,  the  sixty-four 
years  of  spotless  public  service  of  William  Ewart  Gladstone 
will,  irf  years  to  come,  be  regarded  as  as  rich  an  ornament  to  the 


198  ESSENTIALS   OF   PUBLIC   SPEAKING 

history  of  this  nation  as  the  life  of  any  man  who  poured  out  his 
blood  upon  a  battlefield. 

All  movements  in  the  interest  of  peace  have  back  of  them  the 
idea  of  brotherhood.  If  peace  is  to  come  in  this  world,  it  will 
come  because  people  more  and  more  clearly  recognize  the  indis- 
soluble tie  that  binds  each  human  being  to  every  other.  If  we 
are  to  build  permanent  peace,  it  must  be  on  the  foundation  of  the 
brotherhood  of  men.  A  poet  has  described  how,  in  the  civil  war 
that  divided  our  country  into  two  hostile  camps  a  generation  ago, 
in  one  battle  a  soldier  in  one  line  thrust  his  bayonet  through  a 
soldier  in  the  opposing  line,  and  how,  when  he  stooped  to  draw 
it  out,  he  recognized  in  the  face  of  the  fallen  one  the  face  of  his 
brother.  And  then  the  poet  describes  the  feeling  of  horror  that 
overwhelmed  the  survivor  when  he  realized  that  he  had  taken  the 
life  of  one  who  was  the  child  of  the  same  parents  and  the  com- 
panion of  his  boyhood.  It  was  a  pathetic  story,  but  is  it  too  much 
to  hope  that  as  years  go  by  we  will  begin  to  understand  that  the 
whole  human  race  is  but  a  larger  family? 

It  is  not  too  much  to  hope  that  as  years  go  by  human  sym- 
pathy will  expand  until  this  feeling  of  unity  will  not  be  confined 
to  the  members  of  a  family  or  to  the  members-  of  a  clan  or  of  a 
community  or  state,  but  shall  be  world-wide.  It  is  not  too  much 
to  hope  that  we,  in  this  assembly,  possibly  by  this  resolution,  may 
hasten  the  day  when  we  shall  feel  so  appalled  at  the  thought  of 
the  taking  of  any  human  life  that  we  shall  strive  to  raise  all  ques- 
tions to  a  level  where  the  settlement  will  be  by  reason  and  not  by 
force. 


PART   III 
ELEMENTS    OF   ACTION 

Action  is  that  part  of  expression  which  addresses  itself  to 
the  eye.  It  embraces  position,  attitude,  gesture,  and  facial 
expression.  Its  purpose  is  to  reenforce  speech;  if  it  does  not 
do  this,  it  is  superfluous. 

CHAPTER  IX 

CONCEPTION  OF  ACTION 

Four  considerations  must  be  borne  in  mind  in  applying  action, 
—  (i)  Impulse  to  action,  (2)  Suppression  of  self,  (3)  Limits 
of  personation,  (4)  Action  in  fgurative  language. 

SECTION  I.    IMPULSE   TO   ACTION 

Impulse  to  Action  is  the  desire  to  strengthen  spoken  lan- 
guage with  gesture  or  some  other  movement.  The  impulse  is 
more  important  than  the  form  of  action.  Still  it  is  necessary  to 
cultivate  form  because  action  in  good  form  is  more  forceful. 
To  be  effective,  action  must  also  be  spontaneous,  must  have 
impulse  behind  it.    Better  no  action  than  no  impulse. 

V 
SECTION  II.    SUPPRESSION  OF  SELF 

The  speaker  should  make  his  theme  more  prominent  than 
himself,  should  hide  behind  his  subject,  and  lead  his  audiences  , 

to  think  and  feel  w  .h  him.  Awkward  or  profuse  gesture  attracts     _  L- 
attention  to  the  speaker.   People  lose  sight  of  the  thought  an^d  V 

199 


200  ESSENTIALS  OF   PUBLIC   SPEAKING 

carry  away  the  memory  of  inappropriate  gesture  and  striking 
attitude.  Gesture  should  be  simple,  sincere,  and  suited  to  the 
word. 

SECTION  in.    LIMITS  OF  PERSONATION 

Public  readers  and  speakers  are  under  great  temptation  to 

act  out  many  things  which  should  be  left  to  the  imagination. 

In  no  respect  has  the  criticism  of  judicious  minds  been  so 

severe  as  against  undue  impersonation.   The  following  simple 

laws,  if   put   into  practice,  will    reduce   such  tendency  to  a 

minimum. 

I.   First  Law 

The  speaker  sJwuld  personate  only  when  littering  the  direct 
words  or  strong  emotion  of  a  character.  In  the  following  lines 
from  "  Horatius  at  the  Bridge  "  one  may  very  properly  person- 
ate the  strong  soldier  giving  the  command.  He  may  take  a 
manly,  heroic,  but  modest  attitude,  such  as  this  courageous 
Roman  is  supposed  to  have  taken  at  the  time  : 

Hew  down  the  bridge,  Sir  Consul,    . 

With  all  the  speed  ye  may  ; 
I,  with  two  more  tn  help  me, 

Will  hold  the  foe  in  play. 
■   In  yon  strait  path  a  thousand 

May  well  be  stopped  by  three. 
Now  who  will  stand  on  either  hand, 

And  keep  the  bridge  with  me  ?  —  Macaulay. 

Of  a  very  different  nature  are  the  descriptive  passages.  In 
such  there  is  a  tendency  with  young  students  to  personate,  to 
act  out  the  descriptions.  The  following  lines  are  spoken  about 
Astur  and  Horatius,  and  not  by  them.  Hence  they  should  not 
be  personated  : 

Then,  whirling  up  his  broadswf.  d 
With  both  hands  to  the  heigh  ., 
He  rushed  ai^ainst  Horatius, 


LIMITS   OF   PERSONATION  203 

And  smote  with  all  his  might. 

He  reel'd,  and  on  Herminius 

He  lean'd  one  breathing-space, 
Then,  like  a  wild-cat  mad  with  wounds, 

Sprang  right  at  Astur's  face.  —  Ibid. 

This  does  not  mean  that  there  should  be  no  action,  but  that 
what  is  used  should  be  suggestive,  not  personative,  i.e.  the  acts 
may  be  pointed  out  by  the  describer  and  pictured  to  the  imag- 
ination, but  not  actually  done.  /  Let  the  student  apply  this 
principle  in  the  following  passage  from  the  same  poem: 

So  he  spake,  and,  speaking,  sheathed 

The  good  sword  by  his  side. 
And,  with  his  harness  on  his  back. 

Plunged  headlong  in  the  tide.  —  Ibid. 

To  act  that  which  should  be  left  to  the  imagination  has  much 
the  same  effect  upon  an  audience  as  the  explanation  of  a  joke. 

2.  Second  Law 

There  must  be  a  distinction  betweeti  the  7'ecitcr  and  the  actor. 
While  the  vocal  expression  is  practically  the  same,  the  action 
in  the  two  cases  is  very  different.  The  actor  is  aided  by  the 
costume,  the  scenery,  the  support,  and  the  accessories.  He 
draws  and  sheathes  his  sword  or  dagger.  He  gives  a  letter,  a 
book,  or  other  material  thing  to  the  character  addressed. 

The  reader  or  personator  does  not  depend  on  costume  and 
stage  trappings  for  effects.  He  draws  upon  the  imagination 
for  the  scenes,  characters,  and  accessories.  He  indicates  the 
drawing  of  the  sword  and  the  using  of  it,  but  does  not  sheathe 
it  or  account  for  it  afterwards.  He  extends  the  hand  with  an 
imaginary  book  or  letter,  or  opens  the  palm  to  receive  some 
material  thing.  He  lea^-es  to  the  imagination  of  the  audience 
much  which  the  actor  produces.  He  should  not  therefore 
encroach  upon  the  actor's  art. 


200       Essentials  of  public  speaking 

car;\vcTION  IV.   ACTION  IN  FIGURATIVE  LANGUAGE 

Literal  action  should  not  be  used  in  figurative  latiguage. 
The  violation  of  this  law  is  common  in  the  first  stages  of  speech 
making.  The  youth  who  pointed  to  his  own  open  mouth  in 
speaking  of  the  "jaws  of  the  hydra-headed  monster  "  violated 
this  principle.  The  distinguished  preacher  who  literalized 
"  striking  at  the  very  gates  of  heaven,"  with  a  high  jump  and 
a  violent  swing  of  his  fist  at  the  pearly  gates,  was  also  doing 
violence  to  this  law.  "  The  heart  of  the  nation,"  "  A  whirlwind 
of  revolution,"  and  "  No  friend  of  liberty  who  has  not  dropped 
his  head  "  are  expressions  that  need  no  literal  action  to  make 
them  impressive. 

CHAPTER  X 

REQUISITES  OF  ACTION 

The  Requisites  or  qualities  of  action  are  four,  —  (i)  Grace, 
(2)  Force,  (3)  Precision,  and  (4)  Economy. 

SECTION  I.   GRACE 

Grace  of  action  is  the  ease  and  freedom  of  bodily  move- 
ments. It  comes  of  the  simple  but  harmonious  action  of  all 
parts  of  the  body.  Grace  requires  that  there  be  curve  enough 
to  overcome  stiffness  and  awkwardness,  but  not  enough  for 
extravagance. 

SECTION  II.    FORCE 

Force  is  the  energy  put  into  gesture  or  other  bodily  move- 
ments. It  may  be  gentle,  moderate,  or  impassioned,  depend- 
ent upon  the  feeling  or  emotion.  Tranquillity,  for  example, 
requires  gentle  force  ;  didactic  thought,  moderate  strength  ;  and 
rage,  impassioned  action.  Ease  may  be  acquired  by  persistent 
exercise  in  aesthetic  physical  culture,  and  especially  in  move- 
ments in  technique  of  action  (see  page  229). 


PRECISION  203 

SECTION  III.    PRECISION 

Precision  is  the  proper  timing  of  action.  Gestures  are  often 
placed  on  the  wrong  word,  the  head  stroke  in  the  passing 
bow  is  not  timed  to  the  step,  and  the  look  is  not  suited  to 
the  word.  Any  gesture  or  other  movement  out  of  time  is  like 
a  note  of  music  out  of  time.    It  breaks  the  harmony. 

Precision  of  gesture  embraces  three  acts,  —  (i)  Preparation, 
(2)  Stroke,  and  (3)  Return. 

I.  The  Preparation    * 

The  Preparation  of  a  gesture  occurs  on  the  three  or  four 
syllables  immediately  preceding  the  word  to  be  emphasized. 
Gesture  would  better  be  prepared  too  early  than  too  hastily, 
foTlthe  poise  of  the  hand  in  the  air  creates  expectancy  on  the 
part  of  the  audience.  In  preparation  the  hand  is  usually 
relaxed  and  moves  through  an  arch  until  it  arrives  at  the  point 
where  the  sweep  or  expressive  part  begins.  One  should  guard 
against  superfluous,  out-of-the-way  curves  in  preparation.  The 
movement  should  be  simple  but  free.  ~ 

2.  The  Stroke 

The  Stroke  is  the  sudden  impulse  that  ends  the  expressive 
parroTtlie  gesture.  It  comes  from  the  elbmv,  wrist,  and  fingers, 
and  occurs  on  the  accente3~'syllable  of  the  emphatic  word. 
Its  force  is  gentle,  moderate,  or  impassioned  in  accordance 
with  the  sentiment.  In  order  to  get  the  full  effect  of  a  gesture, 
the  hand  may  be  held  in~pTace  a"  moment  after  the  stroke,  and 
may  emphasize  the  thought  by  slight  impulses  on  othefieading 
•  words  in  the  sentence.J  Such  impulses  are  given  from  the 
elbow  and  shoulder  without  renewing  the  preparation,  and 
with  but  little  wrist  action  ;  e.g.  "  There  is  Boston  and  Con- 
cord and  Lexington  and  Bunker  Hill  and  there  they  will 
remain  forever  "  ;   ^'(^jw^  generously  ■^iwCa  freely.'' 


204 


ESSENTIALS   OF  PUBLIC   SPEAKING 


3.  The  Return 

The  Return  of  a  gesture  should  be  made  when  it  has  served 
its  purpose  and  no  other  is  to  follow  immediately.  The  hand 
should  be  brought  easily  but  directly  to  the  side  or  to  some 
other  position  of  repose.  Two  extremes  should  be  avoided  : 
first,  drawing  in  the  hand  by  some  circuitous  route  and  placing 
it  away  mechanically ;  and  second,  letting  it  fall  so  heavily  as 
to  attract  attention. 

SECTION  IV.    ECONOMY 

Economy, of  action  is  the  judicious  use  of  appropriate  action. 
There  may  be  too  little  or  too  much  gesture.  Either  is  a  viola- 
tion of  economy.  Well-executed  gestures  may  tire  by  their 
frequency  or  attract  attention  by  their  infrequency.  Two  arms 
are  often  used  where  one  would  do.  A  favorite  gesture  often 
becomes  a  noticeable  habit.  The  index  finger  may  be  shaken 
in  rebuke  once  or  twice  with  good  effect,  but  if  shaken  con- 
tinually it  loses  force  and  grows  monotonous. 

The  amount  of  gesture  depends  upon  the  temperament  of 
the  speaker  and  the  character  of  the  speech.  It  may  be  curbed 
in  one  speaker  and  stimulated  in  another.  True  economy  calls 
for  just  enough  to  reenforce  the  thought  and  no  more. 


CHAPTER  XI 

,     LAWS  GOVERNING  ACTION 

As  the  excellencies  and  faults  of  speech  may  be  determined 
by  a  knowledge  of  vocal  principles,  so  correct  and  incorrect 
gesture  or  attitude  may  be  detected  by  the  study  of  the  under- 
lying principles  or  laws  whidi  govern  action.  We  shall  treat 
(i)  the  Zojies  of  the  Body,  (2)  the  Artns,  (3)  Principles  of 
Gesture,  (4)  Planes  of  Gesture,  (5)  the  Legs,  and  (6)  Positions 
and  Attitudes, 


ZONES   OF   THE   BODY  '  205 

SECTION  I.    ZONES  OF  THE  BODY 

The  Zones  of  the  body  or  any  of  its  members  are  those  sec- 
tions or  divisions  which  correspond  to  man's  Triune  Nature. 
The  body  as  an  expressive  agent  may  be  divided  into  three 
parts,  —  (i)  the  Head,  (2)  the  Torso,  and  (3)  the  Limbs, — 
corresponding  to  the  three  natures  of  man,  as  follows  : 

rHead      .     .     .     Mental    1 

Body  \  Torso     .     .     .     Emotive  \  Man 

[Limbs    .     .     .     Yital        J 

1.  The  Head,  which  contains  the  brain,  the  seat  of  the  mind, 
belongs  to  the  Mental  division.  The  nod  or  shake  of  the  head, 
the  intelligent  flash  of  the  eye,  the  movements  of  the  lips  in 
articulation,  are  mental  in  significance. 

2.  The  Torso,  containing  the  heart  and  popularly  recognized 
as  the  seat  of  the  affections  and  emotions,  is  Emotive  in  signifi- 
cance. The  writhing,  twisting,  and  swaying  movements  of  the 
torso  manifest  the  stronger  workings  of  this  nature.  — 

3.  The  Limbs,  which  are  the  most  muscular  parts  of  the  body 
and  the  active  agents  of  physical  exertion,  are  Vital  in  nature. 
Walking,  running,  dancing,  fighting,  etc.,  show  the  strong  activ- 
ities of  this  nature.  As  agents  of  gesture  and  attitude  there  are 
two  divisions,  —  (i)  the  Ar?ns,  and  (3)  the  Legs. 

Note.  The  above  are  the  Generic  divisions  of  the  body.  For  the 
purposes  of  the  Secondary  Schools  we  shall  treat  only  the  Vital  division, 
leaving  the  fuller  treatment  for  college  and  university  work. 

SECTION  II.    THE  ARMS 

Delsarte  gives  the  following  classification  of  the  parts  of  the 
arm  with  reference  to  the  Triun^  Nature. 

r  Upper  Arm   .     .     .     Yital        "1 

Arm  i  Forearm    ....     Emotive  i-  Man 

[Hand Mental    J 


206  ESSENTIALS   OF   PUBLIC   SPEAKING 

1 .  The  Upper  Arm  contains  the  muscles  which  are  brought 
into  play  in  strong  physical  exertion^  such  as  striking  heavy 
blows,  lifting,  climbing,  or  rowing.  The  expression  "strike  out 
from  the  shoulder"  is  significant  of  the  Vital  character  of  this 
agent  of  expression. 

2.  The  Forearm,  hinging  on  the  Emotive  elbow,  is  brought 
into  action  in  the  cordial  hand  clasp^  in  supplication  and  aver- 
sion, all  of  which  give  evidence  of  its  Emotive  significance. 

3.  The  Hand  is  the  Mental  agent  of  the  arm.  While  it 
responds  to  all  three  of  the  psychic  states,  it  is  most  significant 
of  the  Mental  nature.  l^As  an  agent  of  expression  the  hand  is 
delicately  articulated,  arfordmg  rhe  greatest  mobility  and  skill 
in  its  use.  We  write  and  draw  pictures  with  the  hand.  We 
enumerate  upon  the  fingers.  The  deaf  and  dumb  talk  with 
the  hands.  The  mental  act  of  touching  the  keys  of  a  piano  is 
performed  by  the  hands.  (So  significant  is  the  hand  that  it 
determines  the  meaning  and  therefore  the  principle  of  the  ges- 
ture. |"  Animals  W'Ould  have  been  men  had  they  had  hands," 
exclaimed  the  ancient  Greek  philosopher  Anaxagoras. 

SECTION  III.    PRINCIPLES  OF  GESTURE 

The  Principles  of  Gesture,  as  determined  by  the  position  of 
the  hand,  may  be  reduced  to  seven  in  number, —  (i)  the 
Index,  (2)  the  Supine,  (3)  the  Frofie,  (4)  the  Reflex,  (5)  the 
Clasped,  (6)  the  Averse,  and  (7)  the  Clenched. 

Considered  in  relation  to  the  Triune  Nature,  they  may  be 
classified  as  follows : 

Index,. 

Supine Zrrr;,^Ieiital 

Prone  c-^-'' 

Hand  /  Reflex. _   ^"•^..        .^  \  Man 

.~-~^Emotive 
Clasped-  ' 

Averse^-''  .,.    , 

.Vital 

Clenched " 


PRINCIPLES    OF   GESTURE  207 

I.  The  Index 

The  Index  is  the  pointer  of  the  hand.  The  forefinger  is 
extended  and  emphasized  while  the  other  fingers  are  turned  in 
(see  Figs.  5  and  6).  The  dominant  significance  of  this  prin- 
ciple is  mentality.    It  calls  attention  to  objects  in  whatever 


Fig.  5.    Hand  Index 


Fig.  6.    Hand  Index 

plane  they  may  be  located,  or  directs  the  intellect  of  an  audi- 
ence in  the  close  reasoning  of  debate.  With  the  palm  and 
fingers  turned  down  and  the  forefinger  extended  forward  in  a 
horizontal  -position,  it  adds  great  emphasis  to  the  directing 
power  of  the  gesture.  Held  in  a  vertical  position  and  slightly 
shaken  forward  and  back,  it  admonishes,  charges,  and  expostu- 
lates with.  The  Index,  then,  adds  great  force  to  the  expression 
of  caution,  reproach,  rebuke,  solemn  warning,  and  command ; 
it  directs,  points  out  objects,  enumerates  facts,  and  designates 
argument. 

Senterices  illustrating  the  Index  : 

(i)   Yonder  conies  my  master,  your  brother.  —  Shakespeare. 

(2)  Far  along  from  peak  to  peak  .  .  .  leaps  the  live  thunder. 

—  Byron. 

(3)  You   knew,   none    so   well,    none   so   well    as   you,   of    my 
daughter's  flight.  —  Shakespeare. 


208  ESSENTIALS   OF   PUBLIC   SPEAKING 

2.  The  Supine^,, 

In  the  Supine  principle  the  palm  is  turned  upward,  usually 
at  an  angle  of  about  45°  (see  Figs.  7  and  8).  The  fingers  are 
extended  without  being  strained  back.  The  thumb  is  ener- 
gized, the  forefinger  well  opened,  the  other  fingers  slightly 


Fig.  7.    Hand  Supine 


Fig.  8.    Hand  Supine 

curved,  and  the  whole  hand  is  about  as  wide  at  the  point  as  at 
the  palm.  When  the  gesture  is  high  the  palm  may  not  be  seen 
by  the  audience,  but  it  may  always  be  seen  by  the  speaker. 
The  Supine  is  the  most  commonly  used  of  the  principles  of 
gesture.  It  is  revelatory  in  character  and  corresponds  most 
nearly  to  the  Mental  nature.  It  is  appropriate  in  affirmation, 
weleome,  givitig,  receiving,  askifig,  appeal,  concession,  submis- 
sion, hinnility,  according  to  the  plane  in  which  it  is  made. 

Sentences  i//i(strati?tg  the  Supine : 

(i)   Give  generously  and  freely.    Recollect  that  in  .so  doing  you 
are  exercising  one  of  the  mo.st  god-like  qualities  of  your  nature. 

—  Prentiss. 

(2)  Good  old  man,  thou  art  right  welcome  as  thy  master  is. 

—  Shakespeare. 

(3)  I  appeal  from  the  spirit  of  trade  to  the  spirit  of  liberty. 

—  Hoat. 


PRINCIPLES    OF   GESTURE 


209 


The  Prone 


In  the  Prone  principle  the  palm  is  turned  do\\'n\vard  (see 
Figs.  9  and  10).  It  molds,  shapes,  caresses,  and  commands. 
It  sweeps  over  an  expanse,  traces  out  distance,  measures 
heights,   and    feels    the  way   in    darkness.    The  outstretched 


Fig.  9.    Hand  Prone 


Fig.  10.    Hand  Prone 

hands  of  the  minister,  at  the  close  of  a  church  service,  are  not 
an  unmeaning  benediction.  The  religious  ceremony  of  the 
laying  on  of  hands  signifies  blessing  or  the  imparting  of  spirit- 
ual force.  ^The  Prone  hand  held  upright  in  the  act  of  taking 
the  oath  is  the  outward  sign  of  submission  and  truth.  While 
the  Supine  hand  reveals,  the  Prone  co?iceals  or  suppresses.  The 
one  affirms,  the  other  denies ;  one  receives,  the  other  rejects. 
In  significance  these  are  Mental  states,  but  Vhen  expressing 
reproofs  moral  restraint,  offeri7ig  protection,  blessing,  and  be?ie- 
dictioUy  the  action  enters  the  Emotive  realm. 

Sentences  illustrating  the  Prone : 

(i)   Nor  Heaven  peep  through  the  blanket  of  the  dark  to  cry 
Hold,  hold .'  —  Shakespeare. 

(2)  Peace!  silence!   B'-utus  speaks.  —  Shakespeare. 

(3)  O  name  him  not,   ...   for  he  will  never  follow  any  thing 
that  other  men  begin.  —  Shakespeare. 


2IO 


ESSENTIALS   OF   PUBLIC   SPEAKING 


4.  The  Reflex 

In  the  Reflex  principle  the  pahii  is  directed  toward  some 
part  of  the  body  (see  Figs.  11  and  12).  The  hand  touches 
or  strikes  the  head  in  deep  thought,  bewilderment,  or  dis- 
traction ;   e.g.  Hamlet  in  driving  himself  to  devise  means  to 


Fig.  II.    Ha.nd  Reflex 


Fig.  12.    Hand  Reflex 


"catch  the  conscience"  of  the  King,  exclaims,  '■^ About,  my 
brain  !  "  The  hand  is  directed  toward  the  torso  in  referring  to 
soul,  affection,  heart,  self,  as  in  the  words,  "  Hold,  hold,  my 
heart;  and  you,  my  sinews,  grow  not  instant  old,  but  bear  me 
stififly  up."  The  hand  clutches  some  part  of  the  vital  organs 
in  physical  pain,  as  in  the  words  of  King  John,  "O,  I  am 
poisoned." 

The  Reflex,  then,  is  used  in  concentration,  reflection,  arrogance, 
self-abnegation,  self-menace,  convulsion.  Such  expression  fully 
warrants  that  this  principle  be  classed  as  Emotive  in  nature. 

Sentefices  illustrating  the  Reflex  : 

(1)  Do  I  look  like  a  cudgel?  —  SJtakespcai'e. 

(2)  I  am  the  Emperor  and  the  incompara])le  archer  of  Rome. 

—  Thompson. 

(3)  And  for  that  name  that  is  no  part  of  thee  take  all  myself. 

—  Shakespeare. 


PRINCIPLES   OF   GESTURE  211 

5.  The  Clasped 

In  hands  Clasped  the  i)ahns  are  brought  together  and  the 
fingers  and  thumbs  are  clasped  or  interlocked  (see  Figs.  13  and 
14).  This  principle  is  seen  when  the  hands  are  wrung  in  grief, 
anguish,  and  remorse ;  and  when  they  are  extended  upward  in 


Fig.  II.   Hands  Clasped 


Fig.  14.    Hands  Clasped 

supplication,  which  is  emphasized  when  the  hands  are  drawn 
nearer  to  the  body  and  the  elbows  raised  and  extended  at  a 
sharper  angle.  It  is  also  recognized  in  the  eager  grasp  of  the 
hand  and  the  hearty  hand  shake  of  friendship,  in  which  the 
palms  are  pressed  together  in  cordiality  and  sympathy.  In 
expression,  then,  the  Clasped  hands  respond  to  the  Emotive 
nature,  and  are  used  in  grayer,  entreaty,  supplication,  ado- 
ration, deep  sorroia,  atiguish,  and  remorse. 

Sentences  illustrating  the  Clasped : 

(i)   Dead!    both  my  boys!    When  you  sit  at  the  feast,  and  are 
wanting  a  great  song  for  Italy  free,  let  none  look  at  me. 

—  Airs.  Browning. 

(2)  What  wilt  thou  do  ?   Thou  wilt  not  murder  me  .'   Help,  help, 
ho  !  —  Shakespeare. 

(3)  Thou  shalt  judge.   Thine,  Jehovah,  is  the  vengeance.   Thou 
alone  canst  send  it.  —  Daly. 


212  ESSENTIALS   OF   PUBLIC  SPEAKING 

6.  The  Averse 

In  the  Averse  principle  the  hand  is  turned  away  at  a  positive 
angle  with  the  forearm  (see  Figs.  15  and  16).  It  is  closely 
related  to  the  Prone,  though  the  exact  angle  at  which  the  Prone 
ends  and  the  Averse  begins  is  not  to  be  marked  by  hard-and-fast 
lines.   It  is  necessary  to  distinguish  between  these  two  principles 


Fig.  15.    Hand  Averse 


Fig.  16.    Hands  Averse 


because  of  their  wide  divergency  in  expression.  Benediction 
and  aversion,  so  different  in  character,  require  different  prin- 
ciples of  gesture.  This  difference  is  shown  at  the  wrist.  At  an 
obtuse  angle  the  Averse  expresses  admonition,  reproof,  or  repres- 
sion ;  at  a  sharper  angle,  aversion,  repulsion,  axid  fear;  at  a  still 
sharper  angle,  with  the  fingers  spread  apart,  extreme  feaf,  ter- 
ror, horror,  and  loathing.  Because  a  part  of  these  sentiments 
belong  to  the  Emotive  and  a  part  to  the  Vital  nature  the  Averse 
principle  is  classified  as  pivotal  between  the  two. 

Sentences  illustrating  the  Averse  : 
(i)  Away,  slight  man.  —  Shakespeaj-e. 

(2)  O  most  cursed  fiend !  .  .  .  Thou  and  my  bosom  henceforth 
shall  be  twain.  —  Shakespeare. 

(3)  Avaunt,  thou  dreadful  minister  of  hell ! Shakespeare. 

(4)  "  Imperial  ?"  Away  with  it.    I  do  not  like  the  sound  of  it. 

— Jefferson. 


PRINCIPLES   OF  GESTURE  213 

7.  Thi-:  Clenched 

In  the  Clenched  principle  of  gesture  the  fingers  are  bound 
together  by  the  thumb  into  a  soHd  mass  (see  Figs.  17  and  18). 
Its  significance  is  universally  understood.  All  grades  of  civili- 
zation know  that  the  Clenched  fist  signifies  preparation  for 
physical  conflict,  the  enforcement  of  strong  passion,  determi- 


FiG.  17.    Hand  Clenched 


Fig.  iS.    Hands  Clenched 

nation,  or  force  of  will.  It  is  man's  weapon  of  attack,  and 
therefore  responds  most  fully  to  the  Vital  nature.  It  is  used  in 
sentiments  dominated  by  great  physical  energy,  such  as  cour- 
age, defiance,  hate,  anger,  and  revenge.  It  is  much  used  by  the 
orator  when  he  desires  to  enforce  a  thought  with  great  vigor. 

Sentences  illustrating  the  Clenched : 

(i)  If  I  can  catch  him  once  upon  the  hip,  I  will  feed  fat  the 
ancient  grudge  I  bear  him.  —  Shakespeare. 

(2)  I  will  have  the  heart  of  him,  if  he  forfeit.  —  Shakespeare. 

(3)  Whether  he  be  a  privy  councilor  or  a  parasite  my  answer 
would  be  a  blow.  —  G  rat  tan. 

(4)  Now  let  it  work.  Mischief,  thou  art  a  foot,  take  thou  what 
course  thou  wilt.  —  Shakespeare. 

All  the  above  principles  are  used  in  dramatic  action,  but  the 
orator  in  public  address  seldom  uses  more  than  four  of  them, 
the  Supine,  the  Prone,  the  Index,  and  the  Clenched. 


214  ESSENTIALS   OF   PUBLIC  SPEAKING 

Selection  illustrating  the  Principles  of  Gesture. 

Note.  The  student  should  analyze  the  following  selection,  determine 
from  the  foregoing  discussion  the  principles  of  gesture  to  be  employed, 
and  apply  them  to  delivery. 

CAUGHT    IN    THE   QUICKSAND  . 

Victor  Hugo 

It  sometimes  happens  that  a  man,  traveler  or  fisherman,  walk- 
ing on  the  beach  at  low  tide,  far  from  the  bank,  suddenly  notices 
that  for  several  minutes  he  has  been  v/alking  with  some  difficulty. 
The  strand  beneath  his  feet  is  like  pitch  ;  his  soles  stick  in  it ;  it 
is  sand  no  longer  ;  it  is  glue. 

The  beach  is  perfectly  dry,  but  at  every  step  he  takes,  as  soon 
as  he  lifts  his  foot,  the  print  which  it  leaves  fills  with  water.  The 
eye,  however,  has  noticed  no  change ;  the  immense  strand  is 
smooth  and  tranquil ;  all  the  sand  has  the  same  appearance  ; 
nothing  distinguishes  the  surface  which  is  solid  from  that  which 
is  no  longer  so ;  the  joyous  little  crowd  of  sand  flies  continue  to 
leap  tumultuously  over  the  wayfarer's  feet.  The  man  pursues  his 
way,  goes  forward,  inclines  to  the  land,  endeavors  to  get  nearer  the 
.  upland. 

He  is  not  anxious.  Anxious  about  what  .^  Only  he  feels,  some- 
how, as  if  the  weight  of  his  feet  increases  with  every  step  he  takes. 
Suddenly  he  sinks  in. 

He  sinks  in  two  or  three  inches.  Decidedly  he  is  not  on  the 
right  road  ;  he  stops  to  take  his  bearings  ;  now  he  looks  at  his 
feet.  They  have  disappeared.  The  sand  covers  them.  He  draws 
them  out  of  the  sand  ;  he  will  retrace  his  steps.  He  turns  back, 
he  sinks  in  deeper.  The  sand  comes  up  to  his  ankles  ;  he  pulls 
him.self  out  and  throws  himself  to  the  left  — the  sand  half-leg 
deep.  He  throws  himself  to  the  right  ;  the  sand  comes  up  to  his 
knees.  Then  he  recognizes  with  unspeakable  terror  that  he  is 
caught  in  the  quicksand,  and  that  he  has  beneath  him  the  terrible 
medium  in  which  man  can  no  more  walk  than  the  fish  can  swim. 
He  throws  off  his  load  if  he  has  one,  lightens  himself  as  a  ship  in 
distress  ;  it  is  already  too  late.     He  calls,  he  waves  his  hat  or  his 


PLANES   OF   GESTURE 


215 


handkerchief;  the  sand  gains  on  him  more  and  more.  He  feels 
that  he  is  being  swallowed  up.  He  howls,  implores,  cries  to  the 
clouds,  despairs. 

Behold  him  waist  deep  in  the  sand.  The  sand  reaches  his 
breast ;  he  is  now  only  a  bust.  He  raises  his  arms,  utters  furious 
groans,  clutches  the  beach  with  his  nails,  would  hold  by  that  straw, 
leans  upon  his  elbows  to  pull  himself  out  of  this  soft  sheath  ;  sobs  • 
frenziedly  ;  the  sand  rises  ;  the  sand  reaches  his  .shoulders  ;  the 
sand  reaches  his  neck  ;  the  face  alone  is  visible  now.  The  mouth 
cries,  the  sand  fills  it  —  silence.  The  eyes  still  gaze,  the  sand 
shuts  them  —  night.  Now  the  forehead  decreases,  a  little  hair  flut- 
ters above  the  sand  ;  a  hand  comes  to  the  surface  of  the  beach, 
moves,  and  shakes,  disappears.    Sinister  effacement  of  a  man. 


SECTION  IV.  PLANES  OF  GESTURE 

There  are  three  Planes  of  Gesture,  —  (i)  the  Platie  of 
Equality,  (2)  the  Platie  of  the  Superior,  and  (3)  the  Plane  of 
the  Inferior.  The  approximate  angle  occupied  by  each  of  these 
planes  is  shown  in  Fig.  19. 


Plane  of 
Superior 


Plane  of 
Equality 


Plane  of 
Inferior 


Fig.  19 


2l6  ESSENTIALS   OF   PUBLIC   SPEAKING 

I.  Plane  of  Equality 

The  Plane  of  Equality  is  the  plane  of  direct  address.  Its  range 
vertically  is  through  an  arc  of  about  thirty  degrees,  with  the 
shoulder  as  a  center.  It  is  the  normal  zone  in  which  men  deal 
with  their  fellow-men.  Gestures  of  ordinary  conversation,  de- 
scription, didactic  thought,  calm  reasoni?ig,  ordinary  public 
address,  and  direct  appeal  axe  in  the.  Plane  of  Equality;  in  fact, 
most  gestures  occur  in  this  plane. 

Sentences  illustrating  the  Plane  of  Equality. 

(i)  Within  our  territory  stretching  through  many  degrees  of 
latitude  and  longitude  we  have  the  choice  of  many  products  and 
many  means  of  independence.  —  Story. 

(2)  Do  we  mean  to  submit  to  the  measures  of  Parliament, 
Boston-Port  Bill  and  all  ?  —  Webster. 

(3)  Welcome,  Icilius!  Welcome,  friends!  —  Knowles. 

(4)  Have  I  not  cause  enough  for  anger  ?  —  Halm. 

2.  Plane  of  the  Superior 

The  Plane  of  the  Superior  is  the  plane  of  the  ideal,  of  the 
imaginative  and  the  poetic.  It  is  called  by  some  the  elevated 
Ijlane.  Gestures  range  through  an  arc  of  forty  or  fifty  degrees 
above  the  Plane  of  Equality.  Sentiments  of  hope,  benejicence, 
benediction,  patriotism,  triumph,  liberty,  and  appeals  to  Heaven 
or  Deity  require  gestures  in  the  Plane  of  the  Superior. 

Sentences  illustrating  the  Plane  of  the  Superior. 

(1)  Some  to  the  common  pulpits  and  cry  out  "liberty,  freedom 
and  enfranchisement."  —  Shakespeare. 

(2)  "Good  speed!"  cried  the  watch  as  the  gate-bolts  undrew, 
"  Speed,"  echoed  the  wall  to  us  galloping  through." 

—  Broivnitig. 

(3)  J'K^ge,  O  you  gods,  how  dearly  Caesar  loved  him. 

(4)  Forbid  it,  Almighty  God  !  —  Henry. 

—  Shakespeare. 


PLANES   OF  GESTURE  21/ 

3.   Plane  of  the  Inferior 

The  Plane  of  the  Inferior  is  the  plane  of  the  debasmg.  Its 
range  is  through  an  arc  of  forty  to  fifty  degrees  below  the  Plane 
of  Equality.  Gestures  putting  down  the  bad,  the  low,  the  vile, 
or  the  contemptible  culminate  in  this  plane.  Malevolence,  hate, 
revenge,  gloom,  despair,  horror,  and  aversion  are  enforced  by 
gestures  that  conclude  in  this  plane. 

Sentences  illustrating  the  Plane  of  the  Inferior. 

(1)  Out  of  my  sight,  thou  demon  of  bad  news.  —  Aldrich. 

(2)  I'll  force  out  his  last  drachma.  O,  I'll  not  rest  until  I've 
had  revenge.  —  Halm. 

(3)  O,  what  a  rash  and  bloody  deed  is  this  ! Shakespeare. 

(4)  Down,  therefore,  and  beg  mercy  of  the  Duke.  —  Shakespeare. 

Selection  illustrating  the  Planes  of  Gesture. 

Note.  Analyze  the  following  selection  and  apply  gesture  in  accord- 
ance with  the  reasons  set  forth  for  the  use  of  the  different  Planes. 

GALILEO 
Edward   Everett 

There  is  much  in  every  way  in  the  city  of  Florence  to  excite 
the  curiosity,  kindle  the  imagination,  and  gratify  the  taste  ;  but 
among  all  its  fascinations,  addressed  to  the  sense,  the  memory,  and 
the  heart,  there  was  none  to  which  I  more  frequently  gave  a  med- 
itative hour  during  a  year's  residence,  than  to  the  spot  where 
Galileo  Galilei  sleeps  beneath  the  marble  floor  of  Santa  Croce  ; 
no  building  on  which  I  gazed  with  greater  reverence  than  I  did 
upon  that  modest  mansion  of  Arceti :  villa  once,  and  prison,  in 
which  that  venerable  sage,  by  the  command  of  the  Inquisition, 
passed  the  sad,  closing  years  of  his  life. 

Of  all  the  wonders  of  ancient  and  modern  art,  statues  and  paint- 
ings, jewels  and  manuscripts,  the  admiration  and  delight  of  ages, 
there  is  nothing  I  beheld  with  more  affectionate  awe  than  that 
poor  little  spyglass  through  which  the  human  eye  first  pierced  the 


V 


2l8  ESSENTIALS    OF   PUBLIC   SPEAKING 

clouds  of  visual  error,  which  from  the  creation  of  the  world  had 
involved  the  system  of  the  universe. 

There  are  occasions  in  life  in  which  a  great  mind  lives  years  of 
rapt  enjoyment  in  a  moment.  I  can  fancy  the  emotions  of  Galileo, 
when,  first  raising  the  newly  constructed  telescope  to  the  heavens, 
he  saw  fulfilled  the  grand  prophecy  of  Copernicus,  and  beheld  the 
planet  Venus  crescent  like  the  moon. 

It  was  such  another  moment  as  that  when  the  immortal  printers 
of  Mentz  and  Strasburg  received  the  first  copy  of  the  Bible  into 
their  hands,  the  work  of  their  divine  art ;  like  that  when  Colum- 
bus, through  the  gray  dawn  of  the  12th  of  October,  1492,  beheld 
the  shores  of  San  Salvador  ;  like  that  when  the  law  of  gravitation 
first  revealed  itself  to  the  intellect  of  Newton  ;  like  that  when 
Franklin  saw,  by  the  stiffening  fibers  of  the  hempen  cord  of  his 
kite,  that  he  held  the  lightning  in  his  grasp ;  like  that  when 
Leverrier  received  back  from  Berlin  the  tidings  that  the  predicted 
planet  was  found. 

Yes,  noble  Galileo,  thou  art  right,  "it  does  move."  Bigots  may 
make  thee  recant  it,  but  it  moves,  nevertheless.  Yes,  the  earth 
moves,  and  the  planets  move,  and  the  mighty  waters  move,  and 
the  great  sweeping  tides  of  air  move,  and  the  empires  of  men 
move,  and  the  world  of  thought  moves,  ever  onward  and  upward, 
to  higher  facts  and  bolder  theories.  The  Inquisition  may  seal  thy 
lips,  but  they  can  no  more  stop  the  progress  of  the  great  truth 
propounded  by  Copernicus  and  demonstrated  by  thee,  than  they 
can  stop  the  revolving  earth. 

Close,  now,  venerable  sage,  that  sightless,  tearful  eye  ;  it  has 
.seen  what  man  never  before  saw  ;  it  has  seen  enough.  Hang  up 
that  poor  little  spyglass ;  it  has  done  its  work.  Not  Herschel  nor 
Rosse  have,  comparatively,  done  more.  Franciscans  and  Domin- 
icans deride  thy  discoveries  now,  but  the  time  will  come  when, 
from  two  hundred  observatories  in  Europe  and  America,  the  glo- 
rious artillery  of  science  shall  nightly  assault  the  skies  ;  but  they 
shall  gain  no  conquests  in  those  glittefing  fields  before  which  thine 
shall  be  forgotten. 

Rest  in  peace,  great  Columbus  of  the  heavens  —  like  him 
scorned,   persecuted,   broken-hearted!     In  other  ages,  in  distant 


THE   LEGS  219 

hemispheres,  when  the  votaries  of  science,  with  solemn  acts  of 
consecration,  shall  dedicate  their  stately  edifices  to  the  cause  of 
knowledge  and  truth,  thy  name  shall  be  mentioned  with  honor. 

SECTION  V.    THE  LEGS 

With  reference  to  the  Triune  Nattire  the  Leg  is  divided  as 

follows : 

["Foot      ....     Mental    ^ 

Leg  <  Lower  Leg     .     .     Emotive  )■  Man 

l^Upper  Leg     .     .     Vital        j 

1.  The  Foot  and  Ankle  belong  to  the  Mental  zone  of  the 
leg.  The  foot  taps  the  floor  in  impatience  or  irritation,  twists 
about  in  confused  thinking,  picks  the  steps,  finds  the  path,  and 
gives  direction  to  the  punt  of  a  ball. 

2.  The  Lower  Leg  and  Knee  are  Emotive  in  general  signifi- 
cance. The  knee  bends  in  prayer  or  supplication,  bows  in 
submission,  and  shakes  in  strong  emotion.  The  weak-kneed 
person  lacks  moral  strength. 

3.  The  Upper  Leg  and  Hip  correspond  to  the  Vital  nature. 
While  the  foot  gives  direction,  the  heavy  muscles  of  the  thigh 
give  strength  to  the  punt  of  a  ball,  to  walking,  running,  or 
leaping. 

SECTION  VI.    POSITIONS  AND  ATTITUDES 

Viewed  from  the  standpoint  of  the  Triune  Nature,  the  Posi- 
tions and  Attitudes  are  classified  as  follows  : 

1  Second  Attitude  Right  and  Left,  Forward  | 

~ Vital  / 

First.Attitude  Right  and  Left^ " 

First  Position  Right  and  Left .V-V_Vrr-  =  . Mental  \  Man 

Second  Position  Right  and  Left^-;---;-'"""  .  / 

Second  Attitude  Right  and  Left,  Backward-—--''"  I 

Note.  We  shall  treat  only  those  positions  and  attitudes  which  are 
essential  to  public  speaking  and  most  used  on  the  rostrum. 


220 


ESSENTIALS   OF   PUBLIC  SPEAKING 


I.  First  Position 

In  the  First  Position  either  foot  may  be  advanced  :  if  the 
right,  it  is  called  First  Position  Right ;  if  the  left,  First  Position 
Left.  The  heels  are  separated  from  three  to  six  inches.  The 
forward  foot  is  directed  from  the  heel  of  the  back  foot.  The 
angle  between  the  feet  is  about  75°.  The  legs  are  straight. 
The  weight  is  placed  most  strongly  upon  the  ball  of  the  back- 
ward or  "strong"  foot  and  the  body  is  poised  on  the  forward 
foot  without  being  thrown  forward  from  an  erect,  easy  position 
(see  Figs.  20  and  21).^ 


Fig.  20. 
First  Position  Right 


Fig.  21. 
First  Position  Left 


The  First  Position  is  more  used  than  any  other.  It  is  the 
normal  position.  Its  significance  is  that  of  ordinary  mentality 
when  the  speaker  is  not  moved  by  strong  emotion.  It  is  appro- 
priate then  in  ordinary  discourse^  argumentation,  narratioti, 
description y  didactic  thought,  and  in  the  gentle  emotions.  The 
First  Right  and  the  First  Left  are  used  interchangeably  in 
expression  to  avoid  fatigue. 

1  In  all  the  cuts  used  to  illustrate  positions  and  attitudes  those  parts  of  the 
tracks  which  are  most  heavily  shaded  show  where  the  greatest  weight  is  placed. 


POSITIONS  AND  ATTITUDES  221 

Note.  The  First  Position  may  very  properly  be  maintained  through- 
out the  following  short  speech.  Variety  may  be  had  by  a  few  changes 
from  the  First  Position  Right  to  the  First  Position  Left,  and  vice  versa. 

COMMERCIAL  EXPANSION 
William  McKinlev 

The  period  of  exclusiveness  is  past.  The  expansion  of  our  trade 
and  commerce  is  the  pressing  problem.  Commercial  wars  are 
unprofitable.  A  policy  of  good  will  and  friendly  trade  relations 
will  prevent  reprisals.  Reciprocity'  treaties  are  in  harmony  with  the 
spirit  of  the  times ;  measures  of  retaliation  are  not.  If  perchance 
some  of  our  tariffs  are  no  longer  needed  for  revenue  or  to  encour- 
age and  protect  our  industries  at  home,  why  should  they  not  be 
employed  to  extend  and  promote  our  markets  abroad  ? 

Then,  too,  we  have  inadequate  steamship  service.  New  lines  of 
steamers  have  already  been  put  in  commission  between  the  Pacific 
coast  ports  of  the  United  States  and  those  on  the  western  coasts 
of  Mexico  and  Central  and  South  America.  These  should  be  fol- 
lowed up  with  direct  steamship  lines  between  the  eastern  coast 
of  the  United  States  and  South  American  ports.  One  of  the  needs 
of  the  times  is  direct  commercial  lines  from  our  vast  fields  of 
production  to  the  fields  of  consumption  that  we  have  but  barely 
touched. 

Next  in  advantage  to  having  the  thing  to  sell  is  to  have  the 
convenience  to  carry  it  to  the  buyer.  We  must  encourage  our 
merchant  marine.  We  must  have  more  ships.  They  must  be 
under  the  American  flag,  built  and  manned  and  owned  by  Ameri- 
cans. These  will  not  be  profitable  in  a  commercial  sense ;  they 
will  be  messengers  of  peace  and  amity  wherever  they  go. 

2.  Second  Position 

In  the  Second  Position  either  foot  may  be  advanced  :  if  the 
right,  it  is  called  Second  Position  Right ;  if  the  left,  the  Secomi 
Position  Left.  The  foot  is  set  forward  about  its  length  from 
the  First  Position.    The  weight  is  on  the  forward  foot.    The 


222 


ESSENTIALS   OF   PUBLIC   SPEAKING 


heel  of  the  back  foot  is  lifted  slightly  from  the  floor,  and  the 
foot  rests  upon  its  ball.  The  angle  between  the  feet  is  about 
90°  (see  Figs.  22  and  23). 

It  is  used  where  emotion  is  added  to  mentality  and  the 
speaker  is  impelled  forward  toward  his  audience  to  impart  his 

/ 


Fig.  22. 
Second  Position  Right 


Fig.  23. 
Second  Position  Left 


thought  with  more  friendliness  and  fervor.  It  is  appropriate 
then  in  earnest  interest,  anxiety,  welcome,  appeal,  supplication, 
and  entreaty.  The  Second  Right  and  Second  Left  are  comple- 
mentary to  each  other,  and  are  interchangeable  in  expression, 
except  that  in  speaking  far  to  the  right  the  Second  Right  is 
more  sympathetic  and  appropriate,  and  in  speaking  far  to  the 
left  the  Second  Left  gives  the  more  graceful  appearance. 

Sentences  illiistratitig  the  Second  Position. 

Note.  In  the  following  short  passages  where  earnest  appeal  and 
supplication  are  used  there  is  opportunity,  now  and  then,  for  the  use  of 
the  Second  Position  Right  and  Left. 

(1)  In  the  name,  then,  of  common  humanity,  I  invoke  your  aid  in 
behalf  of  .starving  Ireland.    Give  generously  and  freely.    Recollect 


POSITIONS   AND   ATTITUDES 


223 


that  in  so  doing  you  are  exercising  one  of  the  most  God-like  quali- 
ties of  )'our  nature.  —  Prentiss. 

(2)        But  j-esterday  the  word  of  Caesar  might 

Have  stood  against  the  world ;  now  lies  he  there, 
And  none  so  poor  to  do  him  reverence. 

0  masters,  if  I  were  disposed  to  stir 
Your  hearts  and  minds  to  mutiny  and  rage, 

1  should  do  Brutus  wrong,  and  Cassius  wrong, 
Who,  you  all  know,  are  honorable  men : 

I  will  not  do  them  wrong ;   I  rather  choose 

To  wrong  the  dead,  to  wrong  myself  and  you, 

Than  I  will  wrong  such  honorable  men  1  —  SJiakespcare. 


3.  First  Attitude 

An  Attitude  is  a  position  extended  and  enlarged. 
The  First  Attitude  is  an  extension  of  the  First  Position.    It 
has  a  broader  base  and  a  firmer  bracing  of  the  lower  limbs.  The 


Fig.  24. 
First  Attitude  Right 


Fig.  25. 
First  Aititude  Left 


angle  between  the  feet  is  the  same  and  the  weight  is  distrib- 
uted as  in  the  First  Position  (see  Figs.  24  and  25).    There  are 


224  ESSENTIALS   OF   PUBLIC   SPEAKING 

two  divisions,  —  the  First  Attitude  Right  and  the  First  Attitude 
Left.  They  are  used  interchangeably  in  the  expression  of 
courage,  defiance,  heroism,  pride,  and  arrogance  ;  in  grand,  bold, 
lofty,  or  impassioned  oratory. 

Because  it  is  closely  related  in  expression  to  both  the  Men- 
tal and  the  Vital  natures  we  have  placed  it  as  pivotal  between 
them. 

Selections  illustrating. 

Note.  In  the  heroic  and  lofty  passages  of  the  following  paragraphs 
the  First  Attitude  is  indispensable.  Variety  may  be  had  by  changes  now 
and  then  from  the  First  Right  to  the  First  Left. 

When  my  eyes  shall  be  turned  to  behold,  for  the  last  time,  the 
Sun  in  heaven,  may  I  not  see  him  shining  on  the  broken  and  dis- 
honored fragments  of  a  once  glorious  Union  ;  on  states  dissevered, 
discordant,  belligerent;  on  a  land  rent  with  civil  feuds,  or  drenched, 
it  may  be,  in  fraternal  blood !  Let  their  last  feeble  and  lingering 
glance  rather  behold  the  gorgeous  ensign  of  the  republic,  now 
known  and  honored  throughout  the  Earth,  still  full  high  advanced, 
its  arms  and  trophies  streaming  in  their  original  luster,  not  a  stripe 
erased  or  polluted,  nor  a  single  star  obscured  ;  bearing  for  its 
motto,  no  such  miserable  interrogatory  as  "What  is  all  this  worth  .'"' 
nor  those  other  words  of  delusion  and  folly, "  Liberty  first,  and  Union 
afterwards"  ;  but  everywhere,  spread  all  over  in  characters  of  living 
light,  blazing  on  all  its  ample  folds,  as  they  float  over  the  sea  and 
over  the  land,  and  in  every  wind  under  the  whole  heavens,  that 
other  sentiment,  dear  to  every  true  American  heart, —  Liberty  and 
Union,  now  and  for  ever,  one  and  inseparable  !  —  IVebster. 

Reunited  !  One  country  again  and  one  country  forever  !  Pro- 
claim it  from  the  press  and  pulpit !  Teach  it  in  the  schools ! 
Write  it  across  the  skies  !  The  world  sees  and  feels  it !  It  cheers 
every  heart,  North  and  South,  and  brightens  the  life  of  every 
American  home.  Let  nothing  ever  strain  it  again.  At  peace  with 
all  the  world  and  with  each  other,  what  can  stand  in  the  pathway 
of  our  progress  and  prosperity?  —  McKinley. 


POSITIONS   AND  ATTITUDES 


225 


4.  Second  Attitude 

The  Second  Attitude  is  based  upon  the  Second  Position. 
The  lines  and  angles  are  practically  the  same,  though  the  feet 
are  more  widely  separated,  as  seen  in  the  accompanying  figures. 

There  are  two  divisions, 
—  the  Second  Attitude^ 
Forward,  and  the  Second 
Attitude,  Backward. 

(i)  Second  Attitude, 
Forward. 

In  this  attitude  the 
body  is  inclined  forward, 
the  knee  is  slightly  bent, 
the  forward  foot  is  placed 
about  twice  its  length  in 
front  of  the  back  foot 
and  receives  the  greater 
part  of  the  weight  of  the 
body  (see  Figs.  26  and 
2  7).  Both  feet  are  planted 
firmly  upon  the  floor,  and 
the  back  foot  receives 
varying  proportions  of 
the  weight.  The  angle 
between  the  feet  is  ap- 
])roximately  90°,  varying 
somewhat  with  the  length  of  the  step  and  the  distribution  of 
the  weight.  The  farther  forward  the  weight  is  shifted  the  more 
the  heel  of  the  back  foot  will  be  drawn  in  and  the  greater  will 
be  the  angle,  as  shown  in  the  dotted  lines  representing  the 
back  foot. 

In  the  Second  Attitude  either  foot  may  be  advanced  :  if  the 
right,  it  is  called  the  Secojid  Attitude  Right,  Forward ;  if  the 


"■•■-..  90  .-■-"" 

Fig.  26. 
Second  Attitude  Right,  Forward 


226 


ESSENTIALS   OF   PUBLIC  SPEAKING 


left,  the  Second  Attitude  Left,  Forward.    These  two  parts  of 
the  Second  Attitude  are  used  interchangeably  in  speaking  and 

are  the  natural  expression 
of  great  vitality,  defiance, 
violent  denunciation,  exe- 
cration, malevolence,  ag- 
gression, menace,  attack. 
No  better  illustration  of 
this  attitude  may  be  found 
than  in  the  aggressive 
lunges  of  the  fencer  in 
his  bouts  with  the  rapier. 
On  account  of  the  char- 
acter of  the  sentiments 
which  require  this  attitude 
it  naturally  falls  to  the 
Vital  division  of  the  Tri- 
une Nature. 


Sentences  illustratingthe 
Second  Attitude,  Forward. 

Note.  In  the  following 
sentences  the  unusual  vitality 
and  aggressiveness  give  op- 
portunity for  the  use  of  the 
Second  Attitude,  Forward. 


Fio.  27.    Skcond  Attitude  Left, 
Forward 


a.  How  now  !  a  rat?    Dead  for  a  ducat !  Dead!  —  Shakespeare. 

b.  Lay  on,  Macduff !   and  damned  be  he  that  first  cries,  Hold  ! 
enough  !  —  Shakespeare. 

c.  O,  pardon  me,  thou  bleeding  piece  of  earth, 

That  I  am  meek  and  gentle  with  these  butchers ! 

Thou  art  the  ruins  of  the  noblest  man 

That  ever  lived  in  the  tide  of  times. 

Woe  to  the  hand  that  shed  this  costly  blood ! 

—  Shakespeare. 


POSITIONS   AND   ATTITUDES 


227 


(2)  Second  Attitude,  Backward. 

In  this  attitude  the  back  knee  is  slightly  bent,  the  weight  is 
thrown  back  and  rests  chiefly  on  the  left  leg  and  foot  (see 
Figs.  28  and  29).  As  shown  in  these  figures  the  angle  between 
the  feet  varies  from  90°  to  125° — more  than  in  any  other 
position  or  attitude.  As  in- 
dicated by  the  dotted  lines 
the  forward  foot  varies  in 
position  according  to  the 
distribution  of  the  weight 
of  the  body.  The  more  the 
weight  is  shifted  to  the  back 
foot  the  greater  the  angle. 

In  the  Second  Attitude, 
Backward,  either  foot  may 
be  advanced  :  if  the  right, 
it  is  called  the  Second  Atti- 
tude Right,  Backward ;  if 
the  left,  the  Second  Attitude 
Left,  Backivard.  The  two 
parts  of  this  attitude  are 
complementary  to  each 
other  and  are  used  inter- 
changeably in  expression 
according  to  the  location  of 
the  object  which  inspires  the  feeling. 

As  we  have  already  seen,  the  Forward  Attitude  is  used  in 
aggressiveness,  menace,  defiance,  and  attack ;  the  Backward 
Attitude,  on  the  contrary,  is  used  in  defense,  timidity,  shrinking, 
Jear,  dread,  amazement,  terror,  horror,  and  coivardice.  \\'hile 
the  Forward  Attitude  is  used  by  the  fencer  in  his  lunges  or 
the  broadswordsman  in  his  attacks,  the  Backward  Attitude  is 
necessary  in  defense  in  parrying  the  thrusts  of  his  adversary 
or  in  shielding  his  body  from  the  heavy  blows. 


90^^-125 


Fig.  2S.    Second  Attitude 
Right,  Backward 


228 


ESSENTIALS   OF   PUBLIC   SPEAKING 


In  expression  the  torso,  the  arms,  and  the  head  must  sustain 
sympathetic  relation  and  move  in  harmony  with  the  action  of 

the  lower  limbs. 

In  contrast  with  the  For- 
ward Attitude, which  is  Vital 
in  relation  to  the  Triune 
Nature,  the  Backward 
Attitude  is  Emotive  and 
defensive  in  character  and 
expression.  It  goes  with- 
out saying  that  in  practice 
the  student  should  fully 
realize  the  thought  or  emo- 
tion implied  in  the  various 
attitudes  used. 


Sentences  illnstrating  the 
Second  Attitude,  Backward. 

Note.  In  the  following 
short  passages  illustrating  this 
principle  the  surprise,  disgust, 
and  horror  showii  in  the  words 
may  well  be  expressed  in  the 
receding  movement  of  the  Sec- 
ond Attitude,  Backward. 


Fig.  29.    Second  Attitude 
Left,  Backward 


a.  Angels  !  and  ministers  of  grace,  defend  us  !  —  SJiakespeai'e. 

b.  O  judgment !   thou  art  fled  to  brutish  beasts,  and  men  have 
lost  their  reason. Shakespeare. 

c.  Oh,  horrible  !  horrible  !  most  horrible  ! Shakespeare. 

d.  '  Hereafter  ! '   Ay,  —  hereafter  ! 
A  whip  to  keep  a  coward  to  his  track ! 

What  gave  Death  ever  from  his  kingdom  back 

To  check  the  skeptic's  laughter  ? 
Come  from  the  grave  to-morrow  with  that  story 
And  I  may  take  some  softer  i)ath  to  glory.  —  Willis. 


TECHNIQUE   OF   ACTION  229 

SECTION  VII.    TECHNIQUE  OF  ACTION 

That  the  student  may  have  ample  practice  in  Action  we 
here  give  a  series  of  exercises  in  technique.  They  are  given, 
not  for  physical  culture,  but  for  their  expressional  value.  To 
this  end  the  student  should  keep  in  mind  the  thought  or  feel- 
ing implied  in  the  various  movements. 

I.  Exercises  for  Freedom  of  Gesture 

(i)  Finger  Movement.  Clasp  the  right  hand  with  the  left 
thumb  and  finger.  Relax  the  fingers  of  the  right  until  they 
form  an  easy  curve.  Open  and  close  them  alternately  several 
times  to  the  accompaniment  of  music  or  counting.  Let  the 
forefinger  lead  in  moving  out,  the  little  finger  in  moving  in/^ 

Exercise  the  left  hand  ;  then  both  together. 

(2)  Wrist  Moi'onent.  Grasp  the  right  wrist  with  the  left 
thumb  and  finger.  Draw  in  the  hand  from  the  wrist,  partly 
closing  the  fingers  as  in  exercise  (i^^j^n  and  close  alter- 
nately, keeping  time  to  music^  cou^^^^ 

Exercise  the  left  wrist ;   then  both  alternately. 

(3)  Elboiv  Mo7'ement.  Support  the  right  elbow  with  the 
left  hand.  Draw  in  the  forearm  with  the  hand  and  fingers 
relaxed  as  in  exercise  (2).  Open  and  close  the  arm  to  accu- 
rate time.  The  strokes  of  the  elbow,  the  wrist,  and  the  fingers 
should  be  simultaneous.  To  break  the  straight  line  there  should 
be  a  slight  curve  at  the  elbow,  a  slight  depression  at  the  wrist, 
and  a  slight  curve  in  the  fingers. 

(4)  Feather  Movements. 

a.  Vertical Movenient.  Extend  the  arms  parallel,  full  length, 
diagonally  downward.  With  hands  hanging  loosely  let  the  wrists 
lead  up  and  do\ra  several  times  through  an  arc  of  about  90 
degrees.  Let  the  hands  float  after  the  wrists,  the  palms  being 
turned  in  on  the  upward  and  out  on  the  downward  move- 
ment. 


230  ESSENTIALS   OF  PUBLIC   SPEAKING 

/'.  Horizontal  Movement.  Place  the  arms  at  full  length  with 
the  palms  facing  each  other.  Move  them  outward  and  inward 
alternately  through  an  arc  of  about  90  degrees,  letting  the  hands 
float  after  the  wrists. 

(5)  Supine  Movements. 

a.  Lota.  Extend  both  hands,  palms  up,  diagonally  to  the 
right,  and  level  with  the  hips,  giving  the  upper  arm,  forearm, 
and  finger  movements.    Give  the  same  movement  to  the  left. 

b.  Medium.  Repeat  the  movement  with  the  hands  level 
with  the  shoulders. 

c.  High.  Repeat  as  before  with  the  hands  above  and  in 
front  of  the  head. 

(6)  Pro?ie  Alovements. 

a.  Low.  Fulfill  the  conditions  of  the  first  supine  movement 
except  that  the  palms  should  be  down. 

b.  Medium.  The  same  as  the  preceding  exercise,  with  the 
arms  level  with  the  shoulders. 

c.  High.  The  s^fl^s  before,  with  the  arms  above  and  in 
front  of  the  head.    ^^  ^ 

(7)  Rotary  Movements. 

a.  Out7vard.  Extend  the  arms,  full  length,  in  front  of  the 
shoulders,  palms  down.  Move  the  hands  upward  and  outward, 
describing  as  great  a  circle  as  possible  from  the  wrists.  Keep 
the  palms  down  and  use  no  finger  movements.  Make  the 
circle  four  times. 

l>.  Inward.  Retrace  the  circle  used  in  the  last  exercise  four 
times,  moving  upward  and  inward. 

(8)  Shaking  Movements. 

a.  Horizontal.  Raise  the  forearms  to  a  level,  the  palms 
facing  each  other.  Withdraw  all  energy  from  the  hands  and 
shake  them  vigorously  with  the  forearms.    Repeat  four  times. 

/'.  Vertical.  Raise  the  forearms  as  before,  with  the  palms 
down.  Shake  them  vertically.  Do  the  same  with  the  edges 
down.     Repeat  four  times. 


TECHNIQUE   OF   ACTION  231 

2.  Exercises  in  Principles  of  Gesture 
(i)  The  Index. 

a.  Give  the  Index  in  the  Plane  of  the  Superior  with  three 
strokes  at  different  angles. 

b.  Give  the  same  in  the  Plane  of  Equality. 

c.  Give  the  same  in  the  Plane  of  the  Inferior. 

(2)  Give  the  Supine,  the  Prone,  the  Clenched,  and  the  Ac'erse 
in  like  manner. 

(3)  Practice  consecutively  with  positive  strokes  in  the  Plane 
of  Equality  the  following  principles  of  gesture  :  The  Index, 
the  Supine,  the  Prone,  the  Cienc/ied,  and  the  Averse. 

(4)  Give  the  Reflex  to  different  parts  of  the  Mental,  Emotive, 
and  \'ital  zones  of  the  body. 

(5)  Give  the  Clasped  on,  and  also  in  front  of,  the  Torso. 

(6)  Practice  the  principles  of  gesture  in  the  following  order  : 

a.  The  Supine  in  the  Plane  of  Equality. 

b.  The  Reflex  on  the  Torso. 

c.  The  Index  in  Plane  of  Equality. 

d.  The  Prone  in  Plane  of  Superior. 

e.  The  Averse  in  Plane  of  Inferior. 

f.  The  Clasped  on  the  Torso. 

g.  The  Clenched  in  Plane  of  Inferior. 

3.  Exercises  in  Position  and  Attitude 
(i)  First  Position. 

a.  Alternate  between  the  First  Right  and  the  First  Left  by 
moving  forward  a  few  paces.  Keep  the  right  foot  on  the  right 
side  of  a  line  and  the  left  on  the  left. 

b.  Move  backward  a  few  paces,  observing  the  same  conditions. 
Changes  may  be  made  from  the   First   Right  to  the   First 

Left,  and  vice  versa,  by  turning  on  the  balls  of  the  feet,  but 
changes  by  steps  attract  less  attention  and  are  therefore  more 
desirable. 


232  ESSENTIALS   OF    PUBLIC   SPEAKING 

(2)  First  and  Second  Positions. 

a.  Change  from  the  First  Right  to  the  Second  Right. 
Return  to  the  First  Right.  Repeat  several  times.  Keep  the 
body  erect. 

b.  Change  from  the  First  Left  to  the  Second  Left.  Return 
to  the  First  Left.    Repeat  several  times. 

(3)  Second  Position. 

Move  forward  alternately  from  the  Second  Right  to  the 
Second  Left  in  several  short  steps,  as  in  ordinary  walking. 
Halt  after  each  step,  with  the  weight  on  the  forward  foot.  About 
face  and  retrace  the  steps. 

(4)  First  Position  Fight  and  First  Attitude  Right. 
Change  from  the  First  Position  Right  to  the  First  Attitude 

Right.     Return   to  the  First  Position  Right.     Repeat  several 
times. 

(5)  First  Position  Left  and  First  Attitude  Left. 

Change  from  the  First  Position  Left  to  the  First  Attitude 
Left.   Return  to  the  First  Position  Left.   Repeat  several  times. 

(6)  First  Attitude. 

Move  forward  several  steps,  alternating  between  the  First 
Attitude  Right  and  the  First  Attitude  Left.  Move  backward, 
retracing  the  steps. 

Selections  illustrating  Action. 

Ni)TE.  We  have  chosen  two  selections  for  practice,  the  first  orator- 
ical, the  second  dramatic  in  character.  It  is  believed  that  in  the  two 
there  is  opportunity  for  the  application  of  all  the  principles  of  action. 

NATIONAL  MORALITY 

Henry  Ward  Pji-.ixher 

The  crisis  has  come.  By  the  peojile  of  this  generation,  by  our- 
.selves,  probably,  the  amazing  question  is  to  be  decided:  whether 
the  inheritance  of  our  fathers  shall  be  preserved  or  thrown  away; 


TECHNIQUE   OF  ACTION  233 

whether  our  Sabbaths  shall  be  a  delight  or  a  loathing ;  whether  the 
taverns,  on  that  holy  day,  shall  be  crowded  with  drunkards,  or  the 
sanctuary  of  God  with  humble  worshipers  ;  whether  riot  and  pro- 
faneness  shall  fill  our  streets,  and  poverty  our  dwellings,  and  convicts 
our  jails,  and  violence  our  land  ;  or  whether  industry  and  temper- 
ance and  righteousness  shall  be  the  stability  of  our  times  ;  whether 
mild  laws  shall  receive  the  cheerful  submission  of  freemen,  or  the 
iron  rod  of  a  tyrant  compel  the  trembling  homage  of  slaves. 

Be  not  deceived.  Our  rocks  and  hills  will  remain  till  the  last 
conflagration.  But  let  the  Sabbath  be  profaned  with  impunity,  the 
worship  of  God  be  abandoned,  the  government  and  religious  instruc- 
tion of  children  be  neglected,  and  the  streams  of  intemjaerance  be 
permitted  to  flow,  and  her  glory  will  depart.  The  wall  of  fire  will 
no  longer  surround  her,  and  the  munition  of  rocks  will  no  longer  be 
-her  defense.  The  hand  that  overturns  our  laws  and  temples  is  the 
hand  of  death,  unbarring  the  gate  of  pandemonium,  and  letting 
loose  upon  our  land  the  crimes  and  miseries  of  hell. 

If  the  Most  High  should  stand  aloof,  and  cast  not  a  single  ingre- 
dient into  our  cup  of  trembling,  it  would  seem  to  be  full  of  super- 
lative woe.  But  he  will  not  stand  aloof.  As  we  shall  have  begun 
an  open  controversy  with  him,  he  will  contend  openly  with  us.  And 
never,  since  the  earth  stood,  has  it  been  so  fearful  a  thing  for 
nations  to  fall  into  the  hands  of  the  living  God. 

The  day  of  vengeance  is  at  hand.  The  day  of  judgment  has 
come.  The  great  earthquake  which  sinks  Babylon  is  shaking  the 
nations,  and  the  waves  of  the  mighty  commotion  are  dashing  upon 
every  shore.  Is  this,  then,  a  time  to  remove  the  foundations,  when 
the  earth  itself  is  shaken  ?  Is  this  a  time  to  forfeit  the  protection 
of  God,  when  the  hearts  of  men  are  failing  them  for  fear,  and  for 
looking  after  those  things  which  are  to  come  upon  the  earth  ?  Is 
this  a  time  to  run  upon  his  neck  and  the  thick  bosses  of  his  buck- 
ler, when  the  nations  are  drinking  blood,  and  fainting,  and  passing 
away  in  his  wrath  ? 

Is  this  a  time  to  throw  away  the  shield  of  faith,  when  his  arrows 
are  drunk  with  the  blood  of  the  slain  ?  to  cut  from  the  anchor  of 
hope,  when  the  clouds  are  collecting,  and  the  sea  and  the  waves 
are  roaring,  and  thunders  are  uttering  their  voices,  and  lightnings 


234  ESSENTIALS   OF   PUBLIC   SPEAKING 

blazing  in  the  heavens,  and  the  great  hail  is  falling  from  heaven 
upon  men,  and  every  mountain,  sea,  and  island  is  fleeing  in  dismay 
from  the  face  of  an  incensed  God  ? 


HAMLET'S    SELF-REPROACH 

William   Shakespeare 

Now  I  am  alone. 
O,  what  a  rogue  and  peasant  slave  am  I  ! 
Is  it  not  monstrous  that  this  player  here, 
But  in  a  fiction,  in  a  dream  of  passion, 
Could  force  his  soul  so  to  his  own  conceit 
That  from  her  working  all  his  visage  wann'd, 
Tears  in  his  eyes,  distraction  in's  aspect, 
A  broken  voice,  and  his  whole  function  suiting 
With  forms  to  his  conceit  ?  and  all  for  nothing  ! 
For  Hecuba  ! 

What's  Hecuba  to  him,  or  he  to  Hecuba, 
That  he  should  weep  for  her?  What  would  he  do, 
Had  he  the  motive  and  the  cue  for  passion 
That  I  have  ?  He  would  drown  the  stage  with  tears 
And  cleave  the  general  ear  with  horrid  speech. 
Make  mad  the  guilty  and  appal  the  free. 
Confound  the  ignorant,  and  amaze  indeed 
The  very  faculties  of  eyes  and  ears. 
Yet  I, 

A  dull  and  muddy-mettled  rascal,  peak, 
Like  John-a-dreams,  unpregnant  of  my  cause, 
And  can  say  nothing  ;  no,  not  for  a  king, 
Upon  whose  property  and  most  dear  life 
A  damn'd  defeat  was  made.    Am  I  a  coward? 
Who  calls  me  villain?  breaks  my  pate  across? 
Plucks  off  my  beard,  and  blows  it  in  my  face  ? 
Tweaks  me  by  the  nose  ?  gives  me  the  lie  i'  the  throat, 
As  deep  as  to  the  lungs  ?  who  does  me  this  ? 
Ha! 


TECHNIQUE   OF  ACTION  235 

'Swounds,  I  should  take  it:  for  it  cannot  be 

But  I  am  pigeon-liver'd  and  lack  gall 

To  make  oppression  bitter,  or  ere  this 

I  should  have  fatted  all  the  region  kites 

With  this  slave's  offal.    Bloody,  bawdy  villain  ! 

Remorseless,  treacherous,  lecherous,  kindless  villain! 

O,  vengeance ! 

This  is  most  brave, 
That  I,  the  son  of  a  dear  father  murder'd. 
Prompted  to  my  revenge  by  heaven  and  hell, 
Must,  like  a  trull,  unpack  my  heart  with  words. 
And  fall  a-cursing,  like  a  very  drab, 
A  scullion ! 

Fie  upon't !   foh  !  About,  my  brain  !   I  have  heard 
That  guilty  creatures  sitting  at  a  play 
Have  by  the  very  cunning  of  the  scene 
Been  struck  so  to  the  soul  that  presently 
They  have  proclaimed  their  malefactions  ; 
For  murder,  though  it  have  no  tongue,  will  speak 
With  most  miraculous  organ.    Til  have  these  players 
Play  something  like  the  murder  of  my  father 
Before  mine  uncle  :    I'll  observe  his  looks  ; 
I'll  tent  him  to  the  cjuick  :   if  he  but  blench, 
I  know  my  course.    The  spirit  that  I  have  seen 
May  be  the  devil  :  and  the  devil  hath  power 
To  assume  a  pleasing  shape  ;  yea,  and  perhaps 
Out  of  my  weakness  and  my  melancholy, 
As  he  is  very  potent  with  such  spirits. 
Abuses  me  to  damn  me  :   I'll  have  grounds 
More  relative  than  this  :   the  play's  the  thing 
Wherein  I'll  catch  the  conscience  of  the  king. 


APPENDIX 


THE  SPEECH 


Having  studied  the  speaker  as  to  his  Triune  Nature,  his 
Vocal  Organism,  Pronunciation  and  Emphasis  of  language,  and 
his  deliver^•  by  means  of  the  elements  of  vocal  and  actional 
expression;  it  now  becomes  necessary  to  study  the  speech  in 
which  he  brings  his  message  to  the  audience.  True,  he  may 
gain  much  power  in  the  use  of  his  voice,  much  grace  and 
freedom  in  gesture,  and  a  clear  knowledge  of  the  philosophy  o. 
expression,  and  he  may  instruct,  entertain,  and  even  mspire  his 
hearers  by  a  faithful  interpretation  of  the  various  illustrative 
selections  contained  in  Parts  I,  II,  and  III.    But  the  larger  use 

of  the  power  gained  by  a  mastery  of  the  foregoing  principles 

lies  in  their  application  to  that  form  of  public  speaking  m  which 

the  speaker  conveys  his  own  ideas  to  the  audience  with  a  view 

to  instruction,  conviction,  and  persuasion. 

We  shall  treat  this  subject  under  three  divisions  as  follows: 

(i)  the  occasion  of  the  speech  and  the  audience  who  hear  it, 
2    the  kind  of  speech  to  make  and  the  subject  or  proposition 

to  be  discussed,  and  (3)  the  plan  of  the  speech  and  its  essential 

qualities. 

CHAPTER  I 

THE  OCCASION  AND  THE  AUDIENCE 
An  intending  speaker  should  first  consider  the  occasion  and 
object  of  his  speech  and  the  audience  he  is  to  address.    His 

2-?6 


APPENDIX  237 

object  may  be  to  entertain,  to  instruct,  to  inspire ;  to  convince, 
or  to  persuade  the  audience  to  accept  his  ideas,  beliefs,  and 
propositions.  If  the  occasion  is  a  debate  before  a  deliberative 
body  or  a  political  meeting,  the  object  would  be  to  secure  votes  ; 
if  the  occasion  is  educational,  religious,  or  patriotic,  the  object 
would  be  the  improvement  of  methods  or  the  elevation  of  ideals 
and  standards  of  living-. 


SECTION  I.    VARIETY  OF  OCCASIONS  AND  AUDIENCES 

As  a  rule,  audiences  are  assembled  by  their  own  free  will  and 
are  friendly  to  the  speaker  through  acquaintance  with  him  or  by 
the  reputation  he  brings,  in  which  case  they  are  open-minded, 
sympathetic,  and  receptive  to  his  message.  But  a  speaker  is 
sometimes  called  upon  to  meet  a  group  of  people  called  together 
by  the  voice  of  authority,  such  as  a  school,  college,  or  other  insti- 
tutional audience,  which  may  be  cordial  or  indifferent  to  the 
speaker ;  or  he  may  even  have  to  face  a  wholly  unfriendly 
crowd,  such  as  a  mob  of  strikers,  anarchists,  or  lynchers  under 
the  sway  of  passion,  seeking  redress  for  alleged  wrong.  Further- 
more, a  friendly  audience  may  manifest  its  varying  moods,  due 
to  environment  or  physical  conditions  over  which  they  have  no 
control,  and  it  is  the  task  and  test  of  the  speaker's  ability  to 
change  indifference  into  interest  and  bring  about  conviction 
and  persuasion. 

It  is  plain  that  the  speech  should  be  the  outgrowth  of  the 
occasion,  of  which  there  are  many,  such  as  educational  associa- 
tions, social  institutions,  religious  meetings,  judicial  bodies, 
legislative  assemblies,  political  gatherings,  and  commemorative 
occasions,  which  require  different  kinds  of  speeches.  For  ex- 
ample, a  political  harangue  would  not  be  appropriate  on  a 
purely  religious  occasion,  nor  should  a  religious  homily  be 
imposed  upon  an  audience  gathered  for  the  consideration  of 
economic  or  social  problems. 


238  ESSENTIALS   OF  PUBLIC   SPEAKING 

A  full  discussion  of  occasions  and  audiences  would  take  us 
far  beyond  the  limits  proposed  for  this  chapter,  but  we  here 
subjoin  an  outline  for  the  guidance  of  student  and  instructor. 

Note.    The  following  outline  of  seven  main  headings,  and  as  many 
subdivisions  each,  is  suggestive  rather  than  inclusive,  and  each  group 
is  arranged  in  climactic  order  as  to  the  formality  of  the  occasion.    The 
instructor  may  add  to  it  according  to  conditions  to  be  met,  and  submit 
the  list  to  the  students,  allowing  each  to  choose  a  different  occasion 
and  a  different  audience  before  whom  he  must  speak  after  preparation. 
At  the  appointed  time  the  whole  class,  under  certain  restrictions,  may 
represent  the   audience   selected    and   assume  the   conditions   of  the 
occasion.    Then  the  speaker  who  has  chosen  his  own  subject  dehvers 
his  own  message  and  is  thrown  upon  his  own  resources  in  controlling 
even  the  confusion  which  may  arise  out  of  the  impersonative  enthusiasm 
of  his  class  audience.    A  suitable  time  limit  may  be  set  for  the  further 
discipline  of  the  speaker,  and  to  meet  the  requirements  of  classroom 
work     The  exercises  may  be  further  varied  by  having  a  half  dozen  or 
more  students  speak  to  the  same  kind  of  an  audience  during  the  recita- 
tion hour,  using  manv  subdivisions  of  one  general  subject ;  and  in  otner 
wavs  the  tact  and  judgment  of  a  successful  teacher  may  be  employed. 
The  plan  suggested  is  one  of  the  most  imeresting  and  effective  methods 
of  encouraging  young  speakers. 

SECTION   II.    LIST  OF  OCCASIONS  AND  AUDIENCES 

I .  Educational  Associations. 

(i)  A  Topical  speech  before  a  high-school  class. 

(2)  Chapel  Address  before  the  whole  student  body. 

(3)  Inaugural  Address  in  a  literary  society. 

(4)  Salutatory  or  Valedictory  at  commencement. 

(5)  Essay  before  a  public-school  teachers'  association. 

(6)  Lecture  before  a  Chautauqua  assembly. 

(7)  Address  before  the  National  Speech- Arts  Association 

or  the  National  Educational  Association. 

2.   Social  Institutions. 

(i)  A  Talk  before  a  business  men's  club. 

(2)  Speech  before  a  municipal  law  and  order  league. 


APPENDIX 


239 


(3)  A  Toast  on  an  assigned  subject  at  a  social  banquet. 

(4)  An   After-dinner   speech   in  honor   of   a  great   poet, 

statesman,  hero,  philanthropist,  or  explorer. 

(5)  Speech  of  Welcome  to  a  victorious  or  defeated  inter- 

collegiate   ball    team,    debate    team,    or   oratorical 
contestant. 

(6)  Anti-saloon  or  temperance  speech  before  a  popular  or 

an  unfriendly  audience. 

(7)  Address  to  an  art  league,  a  city  sorosis  club,  or  the 

Daughters  of  the  American  Revolution. 

Religious  Meetitigs. 

(i)  Sunday  evening  ser\ice  of  a  young  people's  league. 

(2)  A  review  of  the  lesson  at  Sunday  school. 

(3)  Topical  speech  in  a  Young  Men's  Christian  Associ- 

ation. 

(4)  Address  before   a  state  or  national  Y.M.C.A.   con- 

v^ention. 

(5)  A  Sunday  morning  Address  to  children  or  to  old  folks. 

(6)  A  popular  and  appropriate  Sunday  evening  Lecture. 

(7)  A    church    dedicator}-,    Thanksgiving,    Christmas,    or 

Easter  Address. 

Judicial  Bodies. 

(i)  A  case  of  discipline  before  a  student  senate. 

(2)  Trial  before  a  school,  college,  or  church  official  board. 

(3)  Speech  in  a  city  council  for  or  against  some  municipal 

expenditure. 

(4)  Plea  in  a  property  suit  or  criminal  trial  before  a  jury. 

(5)  Prosecution  and  Defense  in  a  murder  trial  before  an 

appellate  court. 

(6)  Pleading  in  a  suit  or  criminal  case  in  the  supreme 

court  of  any  state  or  of  the  United  States. 

(7)  Address  on  an  international  question  before  the  Hague 

conference. 


240  ESSENTIALS   OF  PUBLIC  SPEAKING 

5.  Legislative  Assemblies. 

(i)  Report  of  the  chairman  of  a  standing  or  special  com- 
mittee. 

(2)  Discussion  of  amendments  to  by-laws  in   a  literary 

society. 

(3)  Consideration  and  adoption  of  football  rules  in  high 

school  or  college. 

(4)  Introduction  of  a  bill  into  the  house  or  senate  of  a 

state  legislature. 

(5)  Debate  on  a  measure  before  the  United  States  House 

of  Representatives. 

(6)  Discussion  of  a  resolution  before  the  United  States 

Senate. 

(7)  Debate  on  some  domestic  or  foreign  policy  in  the 

House  of  Commons  of  the  English  Parliament. 

6.  Political  Gatherings. 

(i)  A  "  Stump  speech  "  to  the  crowd  at  the  primaries. 

(2)  An  out-of-door  Campaign  speech  in  a  municipal  or 

state  election. 

(3)  A  Nominating  speech  in  a  national  presidential  con- 

vention. 

(4)  Discussion  of  Party  policies  at  the  opening  of  a  presi- 

dential campaign. 

(5)  A  speech  on  an  act  of  Congress  or  a  resolution  of 

Parliament. 

(6)  Celebration  of  a  political  party  victory. 

(7)  Inaugural  Address  of  a  governor  or  a  president. 

7.    Commefnofafire  Occasions. 

(i)  Founders  Day  Address  or  Decoration  Day  Oration. 

(2)  Oration  on  the  twenty-second  of  February  or  Fourth 

of  July. 

(3)  Address  at  the  unveiling  of  a  monument  or  the  formal 

opening  of  a  public  building. 


APPENDIX  241 

(4)  Oration  on  the  laying  of  the  corner  stone  of  a  memo- 

rial hall. 

(5)  Welcome  to  a  returning  victorious  or  defeated  army. 

(6)  Panegyric  Oration  on  a  great  teacher,  preacher,  states- 

man, or  orator. 

(7)  Civic  Oration  on  some  great  event   in  our  national 

histor)'. 

CHAPTER  II 

THE  KIND  OF  SPEECH  AND  THE  SUBJECT  OR  PROPOSITION 

The  choice  of  a  subject  and  the  kind  of  a  speech  one  is  to 
make  on  a  given  occasion  before  a  sympathetic,  indifferent,  or 
wholly  unfriendly  audience,  is  of  great  importance.  In  fact,  the 
consideration  of  the  occasion  and  the  audience  generally  suggests 
the  theme,  which,  in  turn,  requires  the  selection  of  just  the  right 
kind  of  speech  in  which  the  message  is  to  be  conveyed  to  the 
audience. 

SECTION  I.    KINDS  OF  DISCOURSE 

There  are  many  kinds  of  speeches  varying  in  construction 
and  importance,  from  the  simple  utterance  of  business  remarks 
to  the  formal  deli\'er}-  of  some  elaborate  panegyric.  It  will  be 
seen  that  the  kind  of  discourse  appropriate  to  one  occasion 
or  audience  would  be  altogether  inappropriate  for  another.  It 
behooves  us  then  to  form  some  definite  idea  of  the  main 
characteristics  of  the  different  kinds  of  speeches,  and  we  here 
present  a  brief  treatment.^ 

I.  Announcements  and  Other  Business  Remarks.  In  a  sense 
these  are  speeches,  since  they  convey  information  orally  to  the 
audience,  but  this  is  a  low  form  of  public  speaking.    The  chief 

1  A  full  statement  of  the  kinds  of  discourse  would  include  the  Sermon,  which 
is  a  spoken  discourse  by  a  duly  ordained  clergyman  on  some  theme  or  text  from 
Holy  Writ,  and  delivered  as  a  part  of  a  religious  service  ;  but,  for  obvious  reasons, 
this  variet)'  of  public  address  is  omitted  here. 


242  ESSENTIALS   OF   PUBLIC  SPEAKING 

temptation  is  to  make  the  occasion  an  opportunity  for  a  set 
speech.  Such  remarks  should  be  brief,  dearly  stated,  devoid 
of  personal  display,  and  uttered  loud  enough  to  be  heard  by  the 
entire  audience. 

2.  Committee  Reports.  These  are  made  through  the  chairman 
as  spokesman  for  the  committee,  and  are  also  a  low  form  of 
public  speaking  though  an  important  one.  The  report  may  be 
an  extempore  statement  of  the  findings  of  the  committee  or  a 
concisely  written  set  of  resolutions  or  recommendations.  In 
no  case  should  the  chairman  argue  the  points  in  a  favorable 
or  unfavorable  way,  or  color  statements  with  his  own  prejudices 

or  convictions. 

3.  Essays.  When  read  to  an  audience  by  the  author,  the 
Essay  rises  higher  in  the  scale  and  is  a  much-used  form  of 
speech.  Fundamentally  it  should  be  critical,  didactic,  and  in- 
structive in  stvle;  though  with  the  added  color  of  eloquent  lan- 
guage and  a  high  degree  of  mastery,  so  that  the  eye  may  not 
be  aniftned  too  closely  to  the  page,  it  may  become  a  very  effec- 
tive speech. 

4.  Debates.  The  Debate  differs  from  all  other  forms  of  speech 
in  that  the  speaker  expects  a  reply  from  opponents  who  hear 
his  statements,  and  an  immediate  decision  of  the  question  by 
vote  of  the  judges,  the  verdict  of  the  jury,  or  the  voice  of  the 
people.  He  is  in  the  atdtude  of  attack  or  defense  of  some 
proposition  or  resolution  to  be  established  or  disproved,  with 
the  resultant  condition  of  victor  or  vanquished.  The  speech 
should  be  essentially  truth  seeking,  statistical,  constructive  and 
logical  in  form,  and  destructive  of  experimental  theories  and 
im'practical  idealism.  It  is  the  most  useful  because  the  most 
used  form  of  public  speaking.^ 

5.  Topical  Speeches.  As  the  name  implies,  these  are  speeches 
on  some  topic  or  subject  chosen  by  the  speaker  or  assigned  to 
him.    They  may  be  brief  and  informal  but  should  rarely  extend 

1  See  Note,  p.  246. 


APPENDIX  243 

beyond  "three  good  points  and  three  good  illustrations."  This 
form  of  speech  has  a  wide  range  of  subjects,  some  of  which 
should  be  treated  in  a  purely  didactic  way,  while  others  may 
rise  to  the  glow  of  conviction  and  give  the  flavor  of  good  will, 
patriotism,  or  humor.  There  are  a  variety  of  Topical  Speeches, 
such  as  Toasts  or  After-dinner  speeches,  of  various  degrees  of 
importance ;  short  speeches  of  Introduction  of  a  speaker  to  an 
audience ;  and  speeches  before  school  and  college  classes, 
religious  or  benevolent  associations,  clubs,  and  literary  circles. 
To  this  class  also  belong  the  Gavel  speech,  in  which  the  retiring 
president  of  an  association  presents  that  emblem  of  authority 
to  the  newly  elected  president,  who  is  not  yet  ready  to  give  a 
formal  inaugural  address ;  and  the  Response  by  the  president- 
elect, who  acknowledges  the  honor  and  asks  cooperation  and 
support  for  his  approaching  administration. 

6.  Addresses.  The  Address  is  much  more  formal  than  the 
Topical  Speech,  and  is  better  suited  to  larger  assemblies.  A 
half  dozen  varieties  are  here  noted :  the  Salutatory  or  Address 
of  Welcome;  the  Valedictory  or  Faren'cll  Address ;  the  Co7n- 
mcticement  Address,  before  a  high  school  or  college ;  the  In- 
augural Address  of  the  chairman  of  a  large  convention,  the 
president  of  a  society  or  of  the  nation,  or  the  governor  of  a 
state  ;  the  Political  Address,  dealing  with  the  great  principles  of 
government  and  national  ■  welfare ;  and  various  educational, 
social,  and  religious  addresses  before  public  assemblies. 

7.  Lectures.  The  Lecture  is  a  well-recognized  form  of  public 
speaking  somewhat  akin  to  the  Address,  but  it  bears  the  stamp 
of  greater  preparation  and  is  used  repeatedly  in  about  the  same 
fonn  and  language.  There  are  two  well-defined  classes  of 
Lectures :  the  Didactic  Lecture,  which  should  be  methodical  in 
arrangement,  progressive  in  development,  and  so  presented  that 
the  whole  audience  may  fully  comprehend  the  subject  treated 
and  the  student  may  take  notes  for  future  study ;  and  the  Plat- 
form Lecture,  before  popular  audiences,  in  which  the  subject  is 


244  ESSENTIALS   OF  PUBLIC  SPEAKING 

treated  in  an  entertaining  way  with  sufficient  reduction  of  tech- 
nical terms  to  common  phraseology  and  with  ample  illustration, 
the  object  being  entertainment  as  well  as  instruction. 

8.  Orations.  The  Oration  is  the  loftiest  type  of  public  speak- 
ing and  marks  the  highest  attainment  of  the  public  speaker. 
It  is  dignified  and  formal  in  style,  clear  in  logic,  forceful  in 
thought,  sound  in  philosophy,  eloquent  in  language,  persuasive 
in  spirit,  and,  withal,  it  is  constructed  with  the  plot  and  motive 
of  a  great  drama.  Its  object  is  to  educate  and  inspire  the 
iMssgs,  elevate  the  standards  of  morality  and  citizenship,  and 
bring  about  great  civic  reforms  and  national  movements. 

There  are  three  kinds  of  Orations :  the  Commemorative  Ora- 
tion, which  celebrates  some  great  event  of  history  and  aims  to 
renew  the  memory  of  some  noble  deed  or  heroic  action  worthy 
of  perpetuation ;  the  Panegyric  Oration,  which  is  an  elaborate 
eulogy  on  some  great  person,  and  holds  up  the  events  of  a  fin- 
ished life  as  a  guidance  and  inspiration  to  the  living ;  and  the 
Civic  or  National  Oration,  which  is  a  deep,  earnest  discussion 
of  great  ethical  principles,  civic  laws,  social  relations,  or  economic 
movements  necessary  to  the  welfare  and  perpetuity  of  the  state 
or  nation,  and  has  for  its  aim  the  elevation  of  the  standards  of 
citizenship,  the  promotion  of  national  prosperity  and  the  better- 
ment of  international  relations. 

SECTION  II.  THE  SUBJECT  OR  PROPOSITION 
As  before  stated,  the  subject  or  proposition  to  be  discussed 
naturally  grows  out  of  the  consideration  of  the  occasion  and 
object  of  the  speech,  and  the  kind  of  speech  one  is  to  make. 
The  printing  of  a  list  here  would  consume  too  much  space, 
since  the  demand  under  so  many  conditions  and  under  various 
school  requirements  could  hardly  be  met  in  a  single  collection ; 
but  there  are  many  books  available  in  all  libraries,  giving  suggest- 
ive themes.    The  student  is  referred  to  Referencci  for  Literary 


APPENDIX  245 

IVorkers,  by  Henry  Matson,  for  general  subjects  in  history, 
biography,  politics,  political  economy,  education,  literature,  art, 
science,  philosophy,  ethics,  and  religion ;  and  to  Brookings  and 
Ringwalt's  Briefs  for  Debates,  or  to  almost  any  one  of  the 
many  recent  books  on  argumentation  for  propositions  suitable 
for  debate.  It  may  be  well,  however,  to  state  here  some  of  the 
conditions  of  a  good  question  for  discussion,  and  to  suggest 
some  methods  of  preparation  for  debate. 

1 .  Question  for  Debate.  A  good  question  for  debate  should 
be  a  complete  statement  of  a  proposition  of  vital  interest  at  the 
present  time  and  well  worth  investigation  and  discussion.  It 
must  have  two  sides  as  evenly  balanced  as  possible,  so  that  a 
speaker  on  either  side  may  form  a  definite  conviction  upon  the 
merits  of  the  question.  It  should  be  stated  affirmatively  in 
clearly  defined  terms,  without  ambiguity,  and  with  a  definite  fix- 
ing of  the  Burden  of  Proof  with  the  affirmative  and  the  Pre- 
sumption with  the  negative  side.  The  main  issue  should  be 
specific  and  capable  of  solution.  As  a  rule,  social  or  economic 
questions  that  have  some  strong  human  interest  at  stake  bring 
out  the  most  spirited  discussion  among  younger  debaters. 

2.  Preparation  for  Discussion.  The  preparation  for  debate 
or  the  discussion  of  any  subject  should  include  a  wide  reading 
of  books,  magazines,  and  newspapers  which  give  correct  reports 
of  public  speeches  and  messages,  accurate  accounts  of  current 
events,  and  wise  editorial  discussions.  The  student  must  study 
both  sides  of  the  question  and  know  what  may  be  said  for  and 
against  the  proposition.  He  should  examine  his  own  mind, 
clear  it  of  all  prejudice,  and  distinguish  between  vague  specula- 
tion and  a  clearly  defined  opinion  based  on  experience,  authority, 
or  evidence.  As  he  reads  he  should  discriminate  between  strong 
and  weak  points,  quote  correctly,  note  the  references  so  that 
they  may  be  verified,  and  arrange  the  arguments  in  the  form  of 
a  Brief  which  sets  forth  all  the  facts,  evidence,  and  proofs  in  a 
logical,  climactic  outline  suitable  for  a  speech. 


246  ESSENTIALS   OF  PUBLIC  SPEAKING 

Note.  Since  the  Debate  is  a  much-used  form  of  public  speaking 
among  secondary  schools  and  colleges,  as  well,  it  may  be  further  sug- 
gested as  a  method  that  the  debate  class  be  divided  into  an  equal  num- 
ber of  affirmative  and  negative  teams  of  two  or  three  speakers  each. 
\fter  due  preparation  on  some  selected  question,  these  teams  should 
discuss  the  question,  each  speaker  making  a  set  speech  of  five  to  ten 
minutes  of  main  argument  followed  by  a  round  of  extempore  rebuttals 
of  shorter  duration.  For  the  next  meeting  the  teams  might  change 
sides,  so  that  each  speaker  may  study  both  sides  of  the  question  and 
have  drill  in  both  affirmative  and  negative  discussion.  At  times  the 
instructor  may  see  fit  to  offer  the  question  for  general  extempore  de- 
bate, allowing  each  student  choice  of  sides,  but  requiring  a  brief  time 
limit  for  each  speech. 

Interest  may  be  added  bv  the  occasional  service  of  local  judges, 
who  should  render  decision  not  on  the  merits  of  the  question  (which 
may  or  may  not  be  evenly  balanced),  but  upon  the  basis  of  effective 

debating.  ,  ,    ,.• 

Further  interest  may  be  aroused  by  forming  a  triangular  debating 
league  with  two  other  near-by  schools;  in  which  case  each  school 
secures  by  local  competition,  one  affirmative  and  one  negative  team  of 
three  speakers  and  one  alternate  each,  to  meet  the  opposing  schools. 
Each  institution  holds  one  debate  at  home  and  sends  her  other  team 
a-ainst  one  of  the  other  schools  the  same  day  and  hour, -all  three 
schools  thus  discussing  the  same  question  simultaneously.  A  presiding 
officer  should  enforce  parliamentary  rules,  and  a  set  of  three  or  five 
judges  should  render  decision  by  ballot  on  the  merits  of  the  debate. 

CHAPTER   III 

THE  PLAN  OF  THE  SPEECH  AND  ITS  ESSENTIAL 
QUALITIES 

No  matter  what  the  occasion  and  audience,  the  kind  of  dis- 
course or  the  subject  discussed,  all  speeches  should  be  con- 
structed according  to  a  well-ordered  plan  and  contain  certain 
qualities  which  distinguish  them  from  the  language  of  the 
printed  page  intended  only  for  silent  perusal.  A  speech  must 
^  be  essentially  speakahle  in  structure,  and  in  language  which 
responds  easily  to  oral  expression. 


APPENDIX 


SECTION  I.    THE  PLAN 


247 


I.  The  Plan  of  a  speech  corresponds  to  the  plot  of  a  story  or 
play.  It  prevents  digression,  insures  logical  sequence  and  growth, 
and  secures  proportion.  All  speeches,  however  simple  or  elabo- 
rate, should  have  at  least  an  Introduction,  a  Main  Discussion,  and 
a  Conclusion.  The  extent  and  de\elopment  of  these  three  divi- 
sions in  their  proper  relation  and  proportion  will  depend  largely 
upon  the  importance  of  the  occasion,  the  personnel  of  the  audi- 
ence, the  kind  of  speech  proposed,  and  the  subject  considered. 
The  following  characteristics  of  a  somewhat  formal  speech  may 
be  noted  : 

1 .  The  Introduction.  The  object  of  an  Introduction  is  to  put 
the  speaker  on  good  terms  with  his  audience  and  awaken  atten- 
tion and  interest  in  his  theme  or  proposition.  It  should  be  local 
as  to  time,  place,  and  object  of  the  occasion ;  concrete  in  state- 
ment and  not  an  announcement  of  abstract  generalities  ;  defer- 
ential to  the  audience  and  to  the  preceding  speaker  if  there  be 
any.  fair  and  conciliatory  in  motive  if  conciliation  is  needed,  but 
devoid  of  apology  or  flattery ;  and  it  should  introduce  the  sub- 
ject as  favorably  as  possible  and  with  becoming  brevity.  The 
manner  of  the  speaker  should  be  modest,  sincere,  and  dignified, 
but  not  'strained  into  stiffness  or  over-formality. 

2.  The  Main  Discussion.  Different  kinds  of  speeches  natu- 
rally require  more  or  less  elaboration  of  the  main  discourse, 
but  we  may  here  suggest  a  method  that  will  apply  alike  to  all 
kinds  of  speeches,  namely,  the  Historical,  the  Logical,  and  the 
Distributive  Order. 

(i)  The  Historical  Order  arranges  all  facts  and  incidents 
chronologically  so  far  as  their  occurrence  may  conform  to  the 
unity  of  the  speech  and  contribute  to  its  main  issue.  This 
would  be  a  good  method  for  committee  reports,  certain  topical 
speeches,  valedictory  and  inaugural  addresses,  and  commemora- 
tive orations. 


248  ESSENTIALS   OF  PUBLIC  SPEAKING 

(2)  The  Logical  Order  links  all  facts,  propositions,  testi- 
monies, evidences,  proofs,  and  arguments  into  a  complete  chain 
of  argumentation  to  convince  and  persuade.  It  must  conform 
to  the  main  canons  of  common  logic  and  it  may  employ  the 
intricate  technicalities  of  Formal  logic.  This  method  is  most 
suitable  to  Business  Remarks,  Debates,  Didactic  Lectures,  and 
to  Civic  Orations  of  an  economic  nature. 

(3)  The  Distributive  Order  arranges  related  matters  into 
groups  and  distributes  these  groups  according  to  their  relation 
to  each  other  and  to  the  general  aim  of  the  speech.  This  dis- 
tribution must  conform  unswer\'ingly  to  the  three  great  prin- 
ciples of  Unity,  Climax,  and  Proportion.  This  method  requires 
the  exercise  of  the  clearest  judgment,  and  has  been  much  used 
by  our  greatest  orators.  It  is  especially  appropriate  to  After- 
dinner  speeches,  Salutator>^  and  Commencement  Addresses, 
Platform  Lectures,  Panegyric  Orations,  and  to  Civic  Orations 
of  a  sociological  nature. 

3.  The  Conclusion  or  Peroration.  This  is  the  place  of  peril 
for  the  speaker  and  his  cause,  and  is  a  crucial  test  for  the  skill 
of  the  orator.  "Here,"  as  Dr.  Sears  puts  it,  "truth  is  to  be 
established,  the  moral  to  be  inculcated,  the  memory  to  be  re- 
newed and  perpetuated,  .  .-  .  and  the  verdict  to  be  secured." 
If  the  discourse  is  only  the  simplest  Topical  Speech,  it  should  be 
rounded  out  in  the  Conclusion  so  that  it  does  not  "  stop  short " 
and  leave  an  unfinished  impression ;  if  it  rises  to  the  formality 
of  a  great  Address  or  Oration,  the  Peroration  should  be  carefully 
prepared  in  thought,  language,  and  delivery.  The  main  charac- 
teristics of  the  Peroration  are  Summary,  Eloquence,  Brevity, 
and  Termination. 

(i)  The  Summaty  should  be  a  brief  epitome  of  the  main 
points  of  the  discourse  in  wholly  different  phraseology,  that,  as 
Cicero  states,  "  the  recollection  may  be  revived,  not  the  speech 
repeated."  New  matter  should  not  be  introduced  here,  as  it 
would  be  too  late  to  develop  its  discussion ;  and  care  should  be 


APPENDIX  249 

exercised  that  the  Summary  shall  not  drivel  into  a  mere  cata- 
loguing of  all  the  points  of  the  Main  Discussion. 

(2)  Eloquence.  There  should  be  no  appeals  to  the  emotions 
that  the  promise  of  the  Introduction  and  the  discussions  of  the 
Main  Discourse  do  not  justify,  nor  should  a  speaker  assume 
an  emotion  merely  for  effect  or  overdo  one  that  is  real ;  but 
the  touch  of  eloquence  in  the  Peroration  inspired  by  genuine 
conviction  ma}'  be  employed  to  clinch  the  nails  of  logic  or  cap 
the  climax  of  persuasion. 

(3)  Brei'ity.  The  conclusion  of  different  speeches  will,  of 
necessity,  vary  in  length  according  to  the  style  and  the  time 
given  to  the  body  of  the  speech  ;  but  in  all  cases  the  abundance 
of  thought  should  be  boiled  down  to  the  sweetest  morsels  and 
the  conclusion  be  made  as  brief  as  the  occasion  will  allow. 

(4)  Termination.  As  technically  used  here,  this  word  signify- 
ing "  the  act  of  ending  or  concluding  "  is  intended  to  convey 
the  idea  of  a  certain  cadential  note  or  closing  style  which  im- 
pels the  audience  to  desire  to  know  "  the  conclusion  of  the 
whole  matter."  That  note,  once  sounded,  implies  a  contract  with 
the  audience,  who,  in  turn,  have  a  right  to  expect  the  speaker 
to  stop.  The  repeated  utterance  of  such  expressions  as  "  lastly," 
"  finally,"  or  "  in  conclusion,"  is  tiresome  to  the  audience;  and 
a  fresh  start  in  the  Peroration  is  fatally  disappointing.  To  be 
a  good  speaker  one  should  be  a  good  '*  stopper." 

SECTION   II.    THE  QUALITIES  OF  DISCOURSE 

The  qualities  of  style  have  been  variously  treated  by  rheto- 
ricians, but  all  the  terms  thus  far  used  may  be  included  in  the 
three  words  Clearness,  Force,  and  Posuasiveness,  which,  in  turn, 
correspond  respectively  to  the  Mental,  Vital,  and  Emotive 
natures  of  man. 

I.  Clearness  is  that  Quality  of  discourse  by  which  a  gi\en 
thought  is  presented  intelligibly  to  the  particular  mind  addressed. 
Clearness  is  not  an  absolute  but  a  relative  term.    All  reasoning 


250  ESSENTIALS   OF   PUBLIC   SPEAKING 

cannot  be  made  equally  clear  to  all  minds,  but  the  speaker 
should  so  treat  his.  subject  as  to  make  it  clear  to  the  average 
mind  of  his  audience.  Quintilian  insists  that  the  audience  should 
not  only  be  able  to  understand  what  is  said,  but  not  be  able  to 
misunderstand  it.  Clearness  involves  a  study  of  diction  for 
suggestive  words,  structure  of  sentences  that  there  may  be  no 
ambiguity  of  statement  or  obscurity  of  language,  and  the  habit 
of  clear,  definite  thinking  both  on  and  off  the  platfonn. 

2.  Force  is  that  Quality  of  discourse  which  renders  it  capable 
of  strong,  vital  utterance,  and  energetic,  expressive  action.  It 
does  not  apply  alike  in  degree  to  all  parts  of  a  speech,  but  it 
is  used  to  enforce  expressions  of  spirited  enthusiasm,  great 
earnestness  and  strong  Climaxes  which  conquer  by  their  very 
intensity  and  power.  Force  demands  the  use  of  strong,  idio- 
matic words,  short  sentences,  epigrammatic  expressions,  figura- 
tive language,  and  directness  of  speech. 

3.  Persuasiveness  is  that  Quality  of  discourse  which  appeals 
to  the  will  through  the  emotions.  It  is  the  crowning  essential 
of  style  ;  for  language  may  be  '•  clear  as  crystal  and  as  cold,  force- 
ful as  the  strokes  of  a  sledge  hammer  and  as  hard,"  but  Persua- 
siveness is  the  culminating  virtue  of  a  great  speech.  This  Quality 
requires  the  mastery  of  jouL;£tirring_  words,  the  proper  use  of 
the  expletives  of  language,  the  sympathetic  association  of  ideas 
and  experiences,  the  clever_use  of  s^riking^lustrafaens,  and, 
withal,  its  proper  proportion  to  Clearness  and  Force.  To  secure 
this  Quality  the  speaker  must  bring  a  genuine  message  of  high 
motives  and  ennobling  aims. 

Then  Clearness,  Force,  and  Persuasiveness  will  include,  we 
think,  all  the  essential  Qualities  of  discourse,  since  they  manifestly 
correspond  to  the  triune  nature  of  the  orator  and  furnish  the 
natural  channels  of  spoken  language  through  which  his  mentality, 
his  emotions,  and  his  vital  states  must  find  expression. 

-*    <i   «   8  1 


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